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Emily Dickinson's phrase "I pay-in Satin Cash/ You did not state-your price-" serves as both epigraph and title source for Spaar's third book, though Spaar also includes poems inspired by Gerard Manley Hopkins, John Donne, Hart Crane and Robert Frost, a combination that captures the collection's fervent compressions, devotions and raptures. The natural world in these poems is sensual and seductive, as in "Vineyard in Spring," in which she writes: "The world is prevalent, strained/ with the old work of beginning again,// smalt, sexual, congested with blossom." Birds flock throughout as apparitions and manifestations, paramours and confessors-mourning doves moan, a trapped wren chirs, cardinals shuttle in the hedge. In an address to the wood thrush, Spaar writes: "Blackamoor of hedges, achromatic:/ teach me your harmonics,// daedal, damson: ghosts/ of two notes, one throat." Spaar (Blue Venus) has created an entrancing world of lush language and passionate imaginings, where a womb is a "chivalric piñata,/ quixotic hourglass," and a turtle appears "emerging from its stone/ velvet, vulnerable," poems as beautiful and fragile as the creatures and gardens they contain. (Aug.)Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.