Claudia La Rocco's The Best Most Useless Dress is not poetry. That
is, it's not poetry exclusively, but an amalgam of writings,
including criticism, handwritten notes, musings, and bits of
conversation (also, images) with any combination of these at times
appearing within a single piece. The result of all this would be
disorienting were it not for recurring themes and phrases, and,
perhaps more importantly, the earnestness with which she approaches
each poem and the general sense that she has eschewed the desire to
provide the reader with something polished and perfect. This
meandering, this hesitation, this doubling back creates an intimacy
with the reader that excuses some of the haphazardness of the
work--no, not excuses--justifies.--Cherry Pickman "The Miami
Rail"
Whether she's writing about love, or about a ballet, it all boils
down to human emotions. The subtle movements of a dancer, and the
subtle movements of a lover can all have the same meaning, and La
Rocco writes about both in a way that automatically transports you
to a different place.--Laia Garcia "Lenny Book Pick"
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