Claire Bateman, artist and poet, author of Wonders of the Invisible World; “This collaborative project of remarkable formal and tonal range invites us to ‘click open possibility,’ to stand on the threshold of ‘the mind’s inner workings’ where we glimpse vast territories strangely weathered and richly populated. Is it safe to venture in? As these paintings and poems instruct us, that question doesn’t represent the appropriate mindset—instead, we must abandon caution to ‘wander and wonder’ through ‘the labyrinth of spirit,’ these ‘rooms of elsewhere/ and beyond,’ ‘this universe that hurts and heals.’’’

Myrna Stone, author of The Resurrectionist’s Diary: “Here, the beating heart of Marjorie Maddox’s fourteenth book of poetry lies in her emotional and psychic response to her daughter’s eighteen paintings. If art truly imitates life, Maddox blows both wide open, revealing in her brilliant reactions to her daughter’s, and to other artists’ work, her own calls and answers about what binds and distorts living and dying, health and illness, seeing and believing. Throughout, Maddox’s

sonically charged language and clever use of repetition produces an electric and unforgettable effect before finally offering us, in the end, the cushion of an easy chair and a wild rest.”

Gary Fincke, author of Bringing Back the Bones: New and Selected Poems; “Late-night, mid-morning, or dawn, choose/ imagination . . . ’ Marjorie Maddox writes, welcoming readers to her fascinating poetry/art collection In the Museum of My Daughter’s Mind. ‘This is not a textbook, but a person,’ she tells us later, and in poem after poem, as well as painting after painting, we are immersed in ways that compel us to turn another page as if entering another museum room to be astonished by poems, paintings, and photography until, at last, arriving at ‘your own wild, wild rest’ in words and color that brilliantly illuminate the complexities of a young artist’s vision.”

“In addition, Maddox includes nine poems based on work she saw that day by Antar Mikosz, Greg Mort, Margaret Munz-Losch, Ingo Swann, and Christian Twamley, as well as several later collaborations with Karen Elias.”