The simple gridlines of Duran's couplets recall Martin's square canvasses, her precisely rendered grids and luminous stripes. Responding to individual images and to Martin's own biography, discovering lovely breaths of life entering the 'grey rectangles', the poems' intricate interlockings and brilliant images seem almost to escape the poems' formal enclosures, so that Martin's 'The Peach 1964', 'gave me back // only beige, graphite, / ink, sanity // and orchard after orchard'.
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