Carrie Etter, The Shooting Gallery (Verve), reviewed by Ken Evans
In The Shooting Gallery, Carrie Etter uses a favourite form, the prose poem, to interrogate and illuminate the fatal attraction in a country with more guns than people. However, her way in is not outrage or despair, but to look through an artist’s eye, in a sequence of twelve ekphrastic poems, featuring images suggested by … Continue reading Carrie Etter, The Shooting Gallery (Verve), reviewed by Ken Evans
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