In individual poems, small series of interconnected poems, and in the book as object, Mairéad Byrne has made in The Best Of (What’s Left Of) Heaven a map that covers every kind of topographical feature.
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Like most winning drunken acts, The Drunk Sonnets is comprised of extremes. I came away from each poem thinking it was either the best damn thing I’d read in years or that it fell completely flat.
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Susan Wheeler manages to navigate a wide terrain of both content and form while maintaining the interconnectedness of one of the less lame concept albums ever produced.
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