In "Poetry of Pain, Passion, Play," Karen M. Kline evokes the memory of Anne Bradstreet... reminding us that the first bright light in American poetry was a woman from these parts.
           These women... write poems that are rooted in place. Lois Sargent makes the point emphatically in "Anniversary Bouquet": "to have fled [these] changing seasons" would be like "ask[ing] time to stop."
           The celebrated poet Mary Oliver has written that the poet's work is "mostly standing still and learning to be astonished." Blair Gracie Woodman's poem, "Puddle," is a perfect example of the poet at work, being, and being astonished.
           Heney's accomplishment is to have brought these poets to light. I cannot help but read Barbara Prolman's poem, "The Women," as a celebration of the poets gathered here, "arranged like stately flowers in beautiful cut-glass vases that are illuminated by rays of sunshine."

Alfred Nicol, editor,
The Powow River Anthology

The social networking dimension of poetry is ubiquitous in Japan, but in America it is a rare phenomenon. The writers of this collection have set the admirable goal for themselves to present a collection that uses a newly devised form known as "specular poetry." ...the discoveries they have made in their group's exploration of form are worthy of attention, and the larger community should certainly take note.