Fine Incisions is a collection of twenty-four gracious, intelligent and occasionally fractious essays, wide-ranging in their interests and rigorous in their analyses. Ormsby's reverence for language is luminously clear as he examines his international travels, the work of James Merrill, the state of North American literary criticism and more in a series of essays as vivacious as they are provocative.

Butterfly on a Wheel: Bob Dylan Whether writing on Tennyson, Eliot, Housman, Beckett, or many others, Christopher Ricks has always been a critic of exceptional learning and aplomb; that he has been generally given to a somewhat oblique, even eccentric angle of view -- embarrassment in Keats, the subtleties of punctuation in Geoffrey Hill -- has been to his credit, for while he is in one sense a traditional textual expert of rare authority (witness his editions of Tennyson and T. S. Eliot's smuttier verses), he has also exhibited a delightful ability to surprise. His new book is no exception, less so in its erudition perhaps than in its surprises. Ricks, who recently completed a five-year term as the Oxford Professor of Poetry, has always been smitten with Bob Dylan; even in The Force of Poetry, his 1984 collection of essays, he included considerations of the singer as a poet rather than as a popular performer. It is clear now that his infatuation with the singer -- the word is not too strong -- has been no passing fancy but constitutes an all-consuming passion. With his new book, Ricks reminds us, on virtually every page, that the word f︣︣an'' derives from f︣︣anatic.'' All of Ricks's impressive analytical strengths are on display in Dylan's Visions of Sin. There is no song, no lyric, no mumbled comment from an interview with Bob Dylan, all cited here with excruciating exactitude, that does not elicit from this most acute of auditors some elaborate and, at times, almost comically inflated gloss. Shakespeare, Milton, Donne, Keats, Larkin, and many others are adduced to shore up his case. While Ricks's learning and range of reference remain as impressive as always, the very scale of the enterprise overwhelms its subject. It is hard to think of any singer or composer, however brilliant or original, whose work could stand up to the claims Ricks makes for Dylan: Schubert would have quailed with dismay, Noel Coward would for once ha ...

Eric Ormsby's poetry has appeared in most of the major journals in Canada, England and the U.S., including The New Yorker, Parnassus and The Oxford American. His first collection of poems, Bavarian Shrine and other poems (ECW Press, 1990), won the QSpell Award of 1991. In the following year he received an Ingram Merrill Foundation Award for outstanding work as a poet'. His collection, Coastlines (ECW Press, 1992), was a finalist for the QSpell Award of that year. A sixth collection, Time's Covenant, appeared in 2006 with Biblioasis. His work has been anthologized in The Norton Anthology of Poetry as well as in The Norton Introduction to Literature. Eric and his wife Irena currently live in London, England.

Shadow language : foreign accents in English poetry passionate syntax (William Butler Yeats) The king of never-to-be (Walter De la Mare) Butterfly on a wheel (Bob Dylan) Gilded totems (James Merrill) Mosquitoes in Eden (Richard Outram) Ultimate distillations (Daryl Hine) Ancient chills (Elizabeth Bishop) An austere opulence (Geoffrey Hill) Fine incisions : reflections on reviewing Delousing the soul (J.-K. Huysmans) The house in his mind (William Maxwell)

Secret lightning-flashes (Leo Tolstoy) The view from a falling house (Katherine Anne Porter) The disaster parade (Richard Yates) Waiting for the grammarians (C. P. Cavafy) Ambitious diminutives (La Fontaine) Prague of a hundred towers Two letters from Prague In search of al-Mâjt̂ T̋he happiest man in Morocco The born schoolmaster (S. D. Goitein).