Campanello takes a quasi-archaeological approach to past and present in these grounded yet transportive poems. The Irish-American poet has a gift for drawing inventive, unexpected connections between objects and their meaning, be that historical or transitory, and the results will reward your time and re-reading

Maria Crawford, Financial Times, Best Summer Books 2025

Fierce, breathless, seducing the ear by rhythmic propulsion and monosyllabic control, and all while teetering on the blurred boundary between short story and prose poem . . . She meditates on power, the environment, writing, and questions the supposedly redemptive power of chronic pain . . . The opening gambit reveals a poet disenchanted with – or perhaps no longer satisfied by – poems situated in the stratosphere, amid “church” or “cathedral bells” ringing, nor in the dark, indescribable mystery that is “beneath the sea”. Campanello's poetics are startlingly inventive, even as she admits “books don't know what's inside their covers, or they don't care”. This is a work to care about

Oluwaseun Olayiwola, Guardian

Expansively intelligent, pained, persisting, spectacular, this collection rises out of the depths, from the “echoes and the afterthoughts”, at the uncanny intersection of memory and history

FRAN LOCK

What's interred is not resting. Campanello pulls at every detail to disarm, discern and dismantle pieties and imprecisions, encouraging us to dig deep into subtleties

SO MAYER

These startling prose poems surprise us with something rich and strange, plunging us into a world that hovers somewhere between blog and myth

PHILIP TERRY

An extraordinary collection, in which the present is powerfully haunted by the past. The poems weave through circles and loops, echoes and repetitions, formally and thematically

RACHEL BOWER