I should be grateful for the attention, I think.
After all, he writes:
‘Any writer of poetry will tell you how difficult it is to write even just a mildly successful sestina, and Pindar shows us how it's done while using ambitious end-words in “affection” and “remainder” without making us want to gouge our own eyes out at regular intervals. Form enhancing content is a common occurrence in Emporium, and it makes the Eliot comparison appropriate.’
But (and there’s always a but, isn’t there?) he really hates my anti-monarchy poem ‘The King’s Evil’: ‘a voice planted embarrassingly on a massive pedestal’. Oh dear. He doesn’t mention the echoes of Pound at all in this poem. Ah well. You can’t please everyone all of the time.
(Also, I don’t think he realises that ‘Society of Blood’ does not represent my views – the voice is not mine. NB in a previous incarnation it was entitled ‘Faschismus’.)
Anyway, he says of Emporium as a whole:
‘It emanates creativity, at one point joining lines of over one hundred poets, from Langland to Chernoff, in a poetic “Chain Letter”, as it's titled. This kind of experimentation stands as its main charm and makes it worth reading and re-reading. And as this is Pindar's first collection, I'm already excited to see what he comes up with in his follow-up. Hopefully, though, he'll have made his political opinions more seamlessly integrated into the poetry, which he has such a natural connection with, whether it's echoing the storytelling brilliance of a peak-performance Tennyson in “Big Bumperton on the Sabbath” or using rhyme and form in the most contemporary of fashions.’