The word loom calls us to the edges, perhaps even limits, of life--to what appears as the space and means of creation--and to what appears on that horizon, soliciting reflection and response. In Sarah Gridley's third collection of poems, the word serves as emblem and omen, as signal object of meditation. At the loom--and looming--is The Lady of Shalott--poetic specter of Tennyson's surfaced--and silenced--anima. Trusting in the deep ambiguities of text and textile, spirit and matter, masculine and feminine, Loom calls the Lady back to life, out of isolation, circumscription, and distraction. A book of poems set against the work of disconnection, Loom searches for reconstructions of gender, dwelling, and the sacred.
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Sarah Gridley's language in "Loom" weaves its magic with a covert wondrous quality. She draws
us into the world of the Lady..."She has woven us in descriptionless dark..."
is the kind of lure she creates. Gridley gives us a bit of herself, "...one's craft derived from apprehension, the getting hold of something physical or mental, through a motion both glacial and
elusive." Wallace Stevens would be proud of her understanding of the relationship...inner and
outer. We are brought into a new look at the Lady of Shalott...The lyricism, the romance are here,
but given as "Report: intelligence. Report: explosion." The spirit is fed, the heart satisfied, the mind
well met. The very inconclusiveness is the essential reward.