…Copeland gives us striking perception of the “natural” other, and of how we must construct it in language in our attempt to relate to it and be changed by it.
-reviewed at Poetry Northwest
…Copeland mixes natural observation with (perhaps) confessional verse about a relationship between the speaker and the “you” that suddenly appears—and then dominates—the experience… Copeland recalls the influence of Marianne Moore, Elizabeth Bishop, and their progeny.
-reviewed at Coldfront
Copeland’s poetry is not flashy, or “baroque,” as she puts it, but human in that it expresses one’s honest interactions with nature, others, and oneself with a straightforward originality that is hard to find in a poetic milieu dominated by the avant-garde and the mundane.
-reviewed at Jet Fuel Review
…[Copeland] has a great eye for the music of language, the language of alliteration of association and the assonance of nuance built…
-reviewed at Tidningen Kulturen
But this book is absolutely about desire. Why would I say so? Where does the desire enter the book? It passes through the juxtaposed door between Morse and Seall, through [her] beautiful Notes on Vanishing.
-reviewed at Horseless Press
Although she treats the objects of her poems in a direct and economical fashion, Morse Reservoir and the boat floating on top of it are also catalysts for the imagination and its power to overcome the material realities of the world.
-reviewed by Joshua Ware
Copeland’s poetry does carry lingual echoes of these legends, particularly in its articulated rhythms and descriptive percussion–sonic hammers that help construct the environments of her poems as much as the words do.
-reviewed at 2paragraphs
You can listen to my interview with the Indianapolis public radio station, WFYI, on the May 11, 2012 episode of The Art of the Matter.
You can find me interviewed at-length by Anthony Opal for TriQuarterly.
You can hear smart guys talking about my poem and a poem by Lorine Niedecker included in the Poetry magazine anthology.