Laura Mullen

"In her eighth poetry collection, which nudges the edge of memoir, Mullen excavates the past in the context of exploring the intricate relationships among experience, memory, and expression. For Mullen, “memory makes us each our own guest/(g)host,” and, in focusing on narratives that resist psychological resolution, she deploys an array of literary techniques to reveal the myriad troubled ways we inhabit our selves."
--Publishers Weekly
“Enduring Freedom [is] a galloping great read, a page-turner, and dazzles with linguistic mischief and wit... I am thrilled by it.”
----Hazel White
Murmur collects an astonishing array of stories into language as a terra incognita occasioning the uncanny and always troubled confluence of the subject, the bodies it inhabits and the linguistic remainder. Mullen animates narrative at the level of its basic semantic pulse. Never since Beckett has the unnamed been so chilling...”

--Steve McCaffery
"Solid and brave and relentlessly inventive."
--Cal Bedient
"A brilliant, utterly original, fully realized work that wickedly out-tropes horror's cliches and devices.... wonderfully immediate, making an exaggerated, rollicking introduction to many of the pre-occupations, rhetorics and methods of experimental poetry."
--Publishers Weekly
"There's a rigor and intensity in Mullen's search for truth that often take her to breathtaking lengths." --C.K. Williams // "Accuracy of spirit and ferocity of intelligence prevail...This is thrilling and exacting work." --Jorie Graham
"Laura Mullen proceeds from near void into a powerful reconstruction of self…After I Was Dead is wildly versatile formally, restlessly roving from verse to prose to epistle and back."—Boston Review

The Surface

"I first encountered Laura Mullen’s poems in 1983, in an issue of the late lamented Ironwood. Their music sang itself to me for years; they made a model of what poetry should be and do, what I wanted my poetry to be. Those poems, and her first book, The Surface, published in 1991 as a National Poetry Series winner, embodied an almost perfect and perfectly precarious balance between what Charles Altieri calls lyricism and lucidity, enchantment and disenchantment: they walked open-eyed through the illusion, not taken in, but not willing to cast it aside either."
Reginald Shepherd