Seductive, with eccentric bread crumb trails that lead into the deep green of Twin Peaks, readers will be twisted, wondering, brow-wrinkled and pondering, yet again, what makes the peculiar characters and their stories so compelling.
—Lisa Factora-Borchers, Galatea Resurrects

A Slice of Cherry Pie is '...an intriguing and accomplished collection, not merely a put-together collage or even a mosaic in words, but a compilation complete and riveting.'
—Patricia Prime, New Hope International Review

'A kick-ass piece of work. I loved every poem, I devoured the whole thing at once, I want everyone to read this, whether or not they are Twin Peaks Fans.'
—Jeannine Hall Gailey, Jeannine Blogs

'The poems range from very tiny to quite extensive, but all evoke the eerie quality of Lynch's series.'
—Erik Donald France, Erik's Choice

We Don't Stop Here appealed to me the more of the two books, but it is difficult to decide how much this preference was dictated by my familiarity with the movie which gave rise to the anthology. The complexity and skill with which Mulholland Drive was crafted, and the way it operates on a number of levels, are echoed not only in Kelley's poem, but also in "Lip-Synching", by Juliet Cook, a poem which, despite the unevenness of its control of language, includes some memorable lines, such as:

with her finger too slinky to be a key
with her finger too numb to get herself off
with her head too small for her splintered limbs

and a use of occasional asymmetric rhyme which, together with the carefully spaced repetitions of key words, gives it a fascinating texture.

The poem which keeps me going back most keenly, however, is Emily Zoey Baker's "No Hay Banda, There is No Band". Baker has a keen ear for nuanced language, and a rare ability to extract large amounts of significance from the juxtaposition of apparently simple words and phrases. The third stanza is worth quoting in full:

Sunshine arrives; she's a blonde.
Rita is in the shower,
Hayworth is on the wall.
Betty is as sweet as a peach.

One, admittedly minor, thing that appeals to me about this piece (and others of Baker's that I've read) is that she can achieve her effects without abandoning immaculate punctuation. Don't you just love that semicolon at the end of the first line above? The ending of this poem is perhaps a bit pat, but that might be considered in keeping with the sensation of having tied together all the strands of as complex a narrative as that of Mullholland Drive.
—Tim Thorne, Famous Reporter