From Publishers Weekly
England's most fearsome living poet, Hill (Canaan, etc.), who has been working out of Boston University of late, has long been admired for his moral and philosophical seriousness and for his densely worked, hyperallusive language. Laid out in 120 12-line sections, Hill's new book-length poem follows naturally from, and often resembles, his 1998 The Triumph of Love, which arranged European history, political theory, autobiography and glittering, fragmentary description into one powerful, challenging, mosaiclike book. This work, like that one, invokes literary masters and historical martyrs and denounces England's, Europe's, and America's tawdry, media-driven present, where "Cameo actors can make killings/ their legacies." Boasting a brassier, denser metric than Hill's previous work has used, Hill's terse declarations and haughty thrusts give many passages their strength; they can render other bits monotonous or too private to decode. Individual sections (especially toward the middle of the work) function as self-contained arguments and lamentsAthese are among the best parts: one remembers the World War I poet Isaac Rosenberg, while another considers the "caught-short trot-pace of early film." Though less compellingly narrative than Triumph, this is Hill's most personal book yet. (Nov.)
Copyright 2000 Reed Business Information, Inc.
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A. N. Wilson, The Daily Telegraph, September 28, 2000
"I think Geoffrey Hill is probably the best writer alive."
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