Wordplays & playfull words. A humor throughout but serious, also. “This is not a movie / but now & then it feels like one...” A poem enters stage right, philosophizes, comments, does stand-up, all at the same time, then exits, stage left. Reappears as itself, redressed, or as someone else, from another direction, or perhaps the same, returns to the format though with changed ratios. The appearances, the poems, are incremental, synergistic. Susan Lewis’s State of the Union addresses, in a series of singular poetic soliloquies, both the state of nature & the natural state of life.
Mark Young, editor of Otoliths

Susan Lewis’ prose poems take off at a frenetic pace, dashing old ideas of order and replacing them with a rush of wickedly witty puns, jolts, jabs, and reversals of colloquial speech. It’s as if she’s foraging for and forging a new language to speak about “this overload of blurred identities” living in an age where “there is not enough time for these times.” At the center of this high-speed chase between public and private, self and other, Lewis is a reckless realist determined to stand her shifting ground in order to reach us.
Elaine Equi

Full of laughter, a razor sharp eye, and a barrage of surprises, Susan Lewis’s State of the Union propels us through multiple registers of relation, never slackening or losing focus in her furious push toward a love poem worthy of a “subject which has expired for lack of correct change.” From complexity which leads “to one wandering eye & a convoluted appetite,” to simplicity which leads to “albinism & and continuous irrepressible hum,” Lewis’s impeccable attention to the “song of the illusive spheres” will leave you stunned and in stitches. It is an absolutely (disturbing) delight.
Michael Boughn