The Guardian on the importance of Jorie Graham.

Some of this – whose lines fragment across the page into single words or abrupt phrases that fail to reach across silence, bumping loving endearments up against the idea of atoms, of “infinite smallness / * / which occasions incorruption or immortality” – has earned her, in some quarters, a reputation for difficulty, for writing “unintelligible” poetry “deliberately intended to frustrate the reader”, according to the critic Adam Kirsch. A review in the New York Times of Overlord (2005), entitled “Jorie Graham, Superstar”, called it poetry to soothe “the art form’s nagging status anxiety (anything involving this much Heidegger must be important) … there’s always been something strangely bleary in Graham’s writing – as if she’s just noticed something interesting and motioned the reader over, only to stand in his light, blocking his view with her own viewing.”