The Revisionist & The Astropastorals
Douglas Crase’s dancing eye or is it ear, lost, restless, nervous, and insistingly singular, charges words with the task of unmasking the ordinary. I can’t think of a better time to revisit the poems in The Revisionist, which now seem prophetic. With Astropastorals Crase’s sharp eye continues to meticulously map the restless, shifting, ambiguities of the American scene.
— Susan Howe
This is such anticipatory, massively omniscient edging work. It’s a tone you’d expect a poet to hit here or there but Doug hits it always and I don’t know that he “knows,” or his poem knows but there’s a temptation as a reader to want to stay in it always. He’s not saying it’ll be okay. But even, not meekly, that there are patterns.
— Eileen Myles
Glamorous, gay New York poet Douglas Crase—whose expansive, urbane, essayistic poems opened me up to the possibilities of rhetoric, history, and place.
— David Groff
But for all the intoxicating urbanity of these poems in their syntax, reflexive mood, exalted octaves, panoramic desire, and no small feat of engineering, Douglas Crase’s rare artistry figures a capacious refusal to plead innocence. In Mark Ford’s superb introduction we meet again a poet of the day, longing for “the ebb and flow of belonging inherent in the idea of democracy.”
— Roberto Tejada
One of the most important poets of his generation.
— Roger Gilbert, Oxford Companion to 20th-century Poetry in English