moms and daughters, cats and horses, books and bowls are reworked in Elizabeth Smither’s eighteenth poetry collection.

‘Elizabeth Smither’s international is the folk she is familiar with, the locations she visits, the animals she encounters. As they seem in her paintings they tackle mysterious, occasionally surreal, characteristics. Her ingenious global is fascinating and enchanted, strange, whimsical, and infrequently very funny.’ – C. okay. Stead

‘W. H. Auden as soon as outlined poetry as “a online game of data, a bringing to recognition, by means of naming them, of feelings and their hidden relationships”. This definition fits Smither’s poetry, too, with its sophistication, its wit and humour, its playfulness, its candour, its tenderness, its exploration via simile and metaphor of the unforeseen family members among things.’ – Peter Simpson

‘The freshness of Elizabeth’s imaginative and prescient, her altogether metaphorical means of the realm, regularly surprises. Then there's the path her poems take, emerging into whatever which hits, or is especially like, the chic. Her paintings is replete with a humanity that pulls the reader in, strikes us and remains with us, reaching what the chinese language name “the that means past the words”.’ – Diana Bridge

In Elizabeth Smither’s eighteenth choice of poetry her phrases are as important as ever. The poems take the standard – moms and daughters, cats and horses, books and bowls, slippers and shirts – and remodel them into anything clean: occasionally surreal, occasionally humorous, frequently enchanted. And all through, the paintings is infused with the character of the writer: a unusual, whimsical observer of the mundane global round her, which she exhibits to be packed with surprises.