"There’s formal as well as strategic variety here, but not so much in terms of metre or rhyme. Rather, it’s the visual shape and punctuation of the poems that [Greta] Stoddart plays with. There are two concrete poems, a pear-shaped poem about a pear (which is also, cleverly, a tear-shaped poem about a tear) and a poem about four square windows arranged as a 2×2 grid of prose squares." Stephen Payne • The Compass

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