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Space Walk blasts off into realms of experience that show the imagination’s limitless capacity to be both brutal and uplifting. While many of the poems in this daring collection confront head-on our current American realities of empire, state violence, the endless “crisis-chatter” of talking heads, and the eerie, weightless feeling of impending catastrophe, they are tethered to the gravitational pull of love and hope.
In Tom Sleigh’s poems, rocket engines and pancake houses, space stations and mom’s kitchen, terrorist organizations and Sundays in a museum are all part of love’s intergalactic amplitude. As the poet writes in “After Netzsche”: “In the face that must conceal / what is necessary / to bear / love appears in the face / of the face of what is necessary.”
Hailing Tom Sleighs work, the Los Angeles Times writes that he stakes a claim on the planet of the imagination. In The New Yorkers words, he asserts the importance of poetry itself, showing us in Space Walk its restorative, recuperative powers.
In The Dreamhouse, Tom Sleigh’s poetry is a medium for both revelation and linguistic invention. The meditative clarity of Sleigh’s poems, his ability to range between the plain and high style with complete naturalness of intonation, and the varying and always surprising musical effects he accomplishes in each poem display his unequaled flair for innovation that is never willful or forced but which always works to forward the poems’ emotional and intellectual resonances. The Dreamhouse marks Sleigh as one of the most inventive and provocative poets of his generation.