Pink Harvest, Book CoverToni Mirosevich possesses an uncanny ability to slip into another’s skin. She is a born listener and watcher. Her stories are full of wit and wryness, mirth and sorrow, of lonely, suspicious, uneasy, endearing characters. Mirosevich moves among them and subjects her own life to the same steady and undeceived attention. –Valerie Trueblood, author of Seven Loves

Queer Street, Book CoverToni Mirosevich is a poet of social conscience. She is a poet who acknowledges that it will be strange always to be who we are, strange always to assert ourselves, with all our self-awareness and difference, into the world. Queer Street not only tolerates our difference, but celebrates it. –Ralph Angel, author of Twice Removed

Takeaway Bin, Book CoverWhat a playful, incisive attitude The Takeaway Bin conveys. Our rituals of frailty and justification are wittily revealed. Since we are prone to “repeating the same folly again and again./ We might as well turn up the volume,/ and emphasize the obvious.” We hear phrases we know but begin to understand them differently, we see aspects of our lives we recognize, but learn to conceive them in new ways. Toni Mirosevich knows, “If our interest goes below the surface plane then love will grow.” Like the goodies we find in the takeaway bin, these poems enticingly display what is too often carelessly tossed off by others. –Camille Dungy, author of Suck on the Marrow and Smith Blue

The Rooms We Make Our Own, Book Cover“Here is a book that tackles surprise—surprise in imagery, language, closure. Her poems take readers somewhere new by re-seeing common topics and mixing short fiction with poems…In section one, female speakers imagine themselves as famous persons as they work in traditional working-class jobs. As one woman pumps gas for her rig, she hypothesizes herself as Madonna. Another woman pictures herself as Ophelia as she cleans and readies a swimming pool. Mirosevich matches standard jobs—soup kitchen cook, blood bank deliverer, tree cutter, construction worker—with unusual women—Betty Crocker, Hermes, Friday, and Virginia Woolf—to create a new dialogue of experience. Sara Greenslit—from a review in The Lesbian Review of Books

My Oblique Strategies, Book Cover“As a still unfurled Camp Fire Girl,” the poet writes, “I tried to collect/ beads for good deeds but only ended up with a choker. Fashionable,/ but tight.” Toni Mirosevich’s collection, My Oblique Strategies, is fashionable and tight. In short, impeccably crafted poems, Mirosevich romps from high-brow to low-brow and back again—Dickens to Dallas, Hoffa to Truffaut—with unusual wit, control, and range. Like Kay Ryan and John Ashbery, Mirosevich lets language out to play, with absurd, surprising, and enormously satisfying results. “So let sleeping dogs lie,” she writes in the poem, “Lie or Lay,” “embellish, let them gild/ (or yellow) the lily. My Bonnie dog lies, not lays,/ over the ocean. Either way it’s a wide, wide sea/ and if truth be told we’re all in it very, very deep.” –Kathy Fagan, author of The Charm

Trio, Book CoverToni Mirosevich, Charlotte Muse, Edward Smallfield: This trio can play in my chambers any time. Mirosevich, Muse and Smallfield have in common an uncommon confidence of approach, a forceful impetus for every poem and an instinct for the smooth texture, bitter taste, spiraling motion of each word. Beyond this, they break into singular voices, solos of impressive range and concern. Smallfield’s improvisational magic, Muse’s humor and dark blue meditations, Mirosevich’s bright empiricism with a back beat—this is a volume of poetry in which the world comes true. –Frances Mayes