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Dan Gerber's Trying to Catch the Horses is his first full-length collection since his I highly acclaimed selected poems, A Last Bridge Home, published in 1992. Many of these fifty-eight poems have appeared in the finest literary magazines and anthologies, including Poetry, New Letters, The Ohio Review, and The Best American Poetry 1999, selected by Robert Bly. Long recognized as a meditative poet with an almost mystical connection to animals and the natural world, Gerber begins this collection with a quote from Buddhist monk Thich Nhat Hanh: "Contemplate seeing your bodily form present before you -- in the trees, the grass and leaves, the river." In the manner of Rilke and Juan Ram"n Jimenez, Gerber's unadorned poems are acts of discovery, inviting us into a place deep within ourselves through a conversation between human consciousness and the consciousness of things. In the title poem "Trying to Catch the Horses, " the poet achieves his apparent goal not through will or ambition, but by letting go, to become "a clump of grass they (the horses) must graze, " and to reach up and touch "the sky itself as far as it goes." In two of the book's most riveting poems, Gerber focuses his imagination on both our century's World Wars, envisioning a burst of shrapnel as a flight of blackbirds, and questions the entire enterprise of a great battle in the Pacific and how "we never thought / of fish in the sea and how / this was their home though not their war.... " Whether Gerber writes about horses or war, hiking a canyon or encountering a wolf, his backdrop is a profound silence against which these poems become necessary song.

Toni Morrison's first novel, The Bluest Eye (1970), was acclaimed as the work of an important talent, written--as John Leonard said in "The New York Times--in a prose "so precise, so faithful to speech and so charged with pain and wonder that the novel becomes poetry." Sula has the same power, the same beauty. At its center--a friendship between two women, a friendship whose intensity first sustains, then injures. Sula and Nel--both black, both smart, both poor, raised in a small Ohio town--meet when they are twelve, wishbone thin and dreaming of princes. Through their girlhood years they share everything--perceptions, judgments, yearnings, secrets, even crime--until Sula gets out, out of the Bottom, the hilltop neighborhood where beneath the sporting life of the men hanging around the place in headrags and soft felt hats there hides a fierce resentment at failed crops, lost jobs, thieving insurance men, bug-ridden flour...at the invisible line that cannot be overstepped. Sula leaps it and roams the cities of America for ten years. Then she returns to the town, to her friend. But Nel is a wife now, settled with her man and her three children. She belongs. She accommodates to the Bottom, where you avoid the hand of God by getting in it, by staying "upright, helping out at church suppers, asking after folks--where you deal with evil by surviving it. Not Sula. As willing to feel pain as to give pain, she can never accommodate. Nel can't understand her any more, and the others never did. Sula scares them. Mention her now, and they recall that she put her grandma in an old folks' home (the old lady who let a train take her leg for the insurance)...that a child drowned inthe river years ago...that there was a plague of robins when she first returned...

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