This collection of short works covers such topics as the Underground Railroad, the natural world, relationships, and works based on news stories. Most of the collection is composed of poems which conclude on a single page. There are a few longer poems as well as short stories, typically under five pages. The author also weaves her personal stories and experiences into the work, which includes her thoughts on writing, love and relationships, poems and poets who have interested her, and the world around her. Stovall often writes herself within the subject, although there are pieces where she seems to narrate them through a practically anonymous first person. Although many of the poems are thematically linked, the overall collection is diverse and not centered around a central theme.

The first thing the reader will notice about Stovall’s writing is how she uses unique grammatical structures, playful word placement, and rhyme. Throughout the collection, the influence of many other poets and styles is readily apparent. For example, the abstract style is reminiscent of poets such as A.R. Ammons and E.E. Cummings. Also, the playful word placement reiterates the influence of Cummings. In terms of the word order, particularly the placement of the subject and verb, one is often reminded of John Berryman’s style, particularly in his compilation, The Dream Songs. Another stylistic influence, particularly concerning Stovall’s rhyme scheme, seems to be Emily Dickinson. Both poets use a lot of end rhyme, but they include so many pauses and quick starts and stops in the wording that the works often avoid the singsong style that can wear on the modern reader. Stovall’s poems that use the natural world as a subject often conjure concise, bright images such as those found in a William Carlos Williams poem like “The Red Wheelbarrow.” Finally, the prose pieces read stylistically, with the characters’ somewhat disjointed dialogue, like a section out of James Joyce’s Ulysses. All of these similarities may or may not have been intentional, but readers familiar with these works will likely recognize and appreciate these nods to other styles and authors.

Another aspect of Stovall’s book is that the author’s happiness in creating these pieces is apparent. Readers who like the sound of words and find joy in the different ways they can be assembled will likely gravitate toward this collection. It is obvious that the author is having fun with her writing in a way that pleases her, and those who enjoy having a writer whisk them away to a wonderland of words will find that need met here. Many authors stress over and struggle with identifying a target audience. They choose to stay within the topic and style margins they expect will appeal the most to their audience. In contrast, Stovall seems to write simply how she wishes, inviting her readers to enjoy the journey she has laid out before them. This is a collection that will appeal to other poets who find playing with words and their placement the most enjoyable part of their work as well as readers who are open to more abstract styles but still appreciate rhyming in the poems they read.

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