Really intelligent, coquette, fuck-you work ... a space for a new kind of anti-misogynism in poetry.
I think the project is high electrics and considerable. I particularly care for the frailty and edges of coherence loss. It’s the intelligent frays that push under my thought and matter most.
Her formally adventurous poetry implicates its author in, then deftly upends, the conventions - political, sexual, intellectual, and emotional - that threaten to diminish the purview of any fierce, bright, 21st-century female. Critchley practises a brisk vernacular anti-lyric, often in the name of love and always in a language that (pounding Pound) 'hath 'ham' innit.' As an antidote to a future that 'may be very wrong,' these poems are absolutely right.
[Emily Critchley] has incorporated influences from popular culture and from a more-streetwise feminist critique. [H]er poetry ... is combative, intellectual and probing but this seems tempered by an upbeat and more popular sense of engagement, which makes her unusual and interesting [...] a genuine form of public-poetry, which can embrace both pleasure and critique without being either chic posturing or a sell-out to the market, such as it exists within poetry publishing! The thing I most enjoy about Critchley's poetry is the way in which she manages to suggest an ongoing sense of 'self-dialogue' within her writing. Whether she's talking about love (and as the title suggests, there is a lot of material about relationships) or politics or art or academic work, there's always an inner-dialogue going on, a self-assertiveness questioned in the light of a relationship to the 'public sphere'.
Steve Spence, Stride Magazine
This is an amazing, thorough collection of British poet Emily Critchley’s publications to date. You need to read this book!
[Critchley's] writing addresses love and gender politics with surprising directness, albeit mostly through misdirection, and though the book is couched as an ‘anti-confessional’, it strikes me as more of a kind of ironic examination of the confessional mode and its place in women’s poetry.
Jon Stone, Dr Fulminare
These are profusely, plurally ironic poems - wildly deploying different kinds of irony recombinatively, checking for new emergent ironies, or else tuning into the fuzzy, emergency pseudo-irony between two superimposed and mutually-interfering frequencies of irony. They go brash, sarky, colloquial, ludic, oblique, academic, hilarious, gnomic, emo, icy, camp, compulsively allusive, mellifulously polysyllabic, achingly tongue-tied and lowly, exulting, throwaway, bathetic, non-sequitur, toaster.
Meghan Zword, Hix Eros