The rhythmic flow in Richard Jackson’s poems—happy, dreamy, passionate and even cruel for the way it raises our hopes only to thwart them with the truth, and which opens the kernel of memory—immense bontee and responsibility in it all, immense lust—is at the same time possessive and healing. The reader feels as one of the Chinese soldiers buried alive, turned into terra cotta with his emperor, sewed into the radiant remembrance of the author’s youth and life and dramatically loving it. Why? I guess compassion and generosity is so inclusive. Everything touched here becomes carved and firm, thus relieving. Alive All Day reminds me of the best of America. And of a gothic cathedral.
He would sit there each night, more alone than the invisible stars. [...] Across the piazza a violinist is playing for coins, playing as if to cover the cough of the moon, as if he were tending the wound of some distant star.