Praise for Tinderbox

 

"Dale Winslow's Tinderbox shows a sure, mature touch with words, and styles. Many of the poems herein blend symbolist style with contemporary rap: a rap without the theatrical ranting and bling. And from time to time one can hear or glimpse in the background an e e cummings, a John Skelton. Entertaining and thought-provoking.”

Eric McLuhan, author of Electric Language,The Role of Thunder in Finnegans Wake, and co-author with Marshall McLuhan of Laws of Media, and Media and Formal Cause.

 

 

 

“Dale Winslow’s Tinderbox will ignite you. Her sensuous poems explode in an orgiastic word feast which communicates a waking dream convergence between women, nature, and truth. Winslow’s words hook you; you “reel them in real in them until you say O.” She conjures many varieties of “O” and “Oh” which encircle you within poetic sheer delight. Really!”

Marleen S. Barr, author of Genre Fission, Lost in Space, Feminist Fabulation, and the novel, Oy Pioneer!   

 



"These poems track truth as though it were some constantly morphing mythical creature leaping from one disguise to another until it is caught and stilled in its final form—wisdom. They are euphonious, sensual, full of surprises and highly engaging. They present the reader with ample opportunities to “commit pleasure crimes against the dying world."

Robert Priest, poet, novelist, playwright, songwriter, performer.  



"A late evening's snifter of words - surprisingly ancient and very modern at the same time, personal and cosmic, even the typography dances - that gets to the deepest centers of your brain. Winslow is a welcome, major talent."

Paul Levinson, author of The Plot to Save Socrates and Unburning Alexandria   


 
"No container of flammable miniatures but rather a smoldering verbal inferno, blazing with the heat & light of Dale Winslow’s unflinching yet passionate gaze on all things great and small, “Tinderbox” addresses the most profound preoccupations of consciousness: love & loss, the natural & unnatural worlds (“broken temples of man”), &, most exquisitely perhaps, death (“the endangered void”). It should be no surprise, then, that to enter the world of “Tinderbox” is to enter the world itself in all of its felt drama -- illuminated, lamented, & celebrated by the voice of this “white noise Orpheus,” a voice both incendiary & generative, “curling/coiling/as a snake/on fire.”

Susan Lewis, poet, editor