commonplace humanity against obdurate divinity, and finds decisively in favour of the former.His delight in the human is conveyed more clearly still, perhaps, through the relish of his physical descriptions. An unashamedly carnal series of poems on women delicately sidesteps the pitfall of reductiveness by evoking beauty suggestively, through natural imagery: a new husband flames at the sight of his wife "pouring/The torrent of her hair in the light of hearth and home"; the protagonist of "Woman on a Swing" moves langorously back and forth against the luminous backdrop of "a hemisphere of sunset that will take/For ever to become decidedly/The night" in a dress "soft as a moth".
from Sarah Crown: The Guardian: Setting humanity against divinity
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