"Michael Meyerhofer is the master of the twist, the patron saint of lines embodying equal parts comedy and poignancy." 

-Mary Biddinger, author of Prairie Fever



"Sometimes, Michael Meyerhofer’s poems are excruciatingly tender, the next moment (or poem) blistering satire, the next walk-into-a-wall funny. The one thing that’s predictable about his poems is that they are unpredictable. I think it’s almost time for the poets of my generation to start picking out chairs on the rest home porch. There’s a whole new generation coming up, and they mean business, and Meyerhofer is one of them. I will read every word he writes until I can read no more."

-Thomas Lux, author of The Cradle Place



"Michael Meyerhofer takes us with him everywhere he goes, from the back rooms of hash-slingers to the Star of Africa...I like these poems, kinetic and half-crazed, they remind me that poetry is an explosion, that energy plus mass equals a dark magic."

-Dorianne Laux, author of The Book of Men



"…Meyerhofer is always the poet who sees what we don’t want to see precisely when we least want to see it. If there is a thing to be said that decorum would rather skirt, he is going to say it, and yet, curiously, he is not a poet you have to be up to. He comes upon you like weather."

-Djelloul Marbrook, author of Far From Algiers 



"Michael Meyerhofer's poems reside mainly in narrative. But even though they typically begin and operate in story, they often end with an interesting lyric curl, and it is these endings that make me want to go back and reconsider their lineages."

-CJ Sage, editor of National Poetry Review 



"Meyerhofer has the inner resources and the craft to address worlds imagined and ideal, but he insists on writing chiefly of this one, and he does it fearlessly, masking neither warmth nor anger... He reminds me of a young James Wright. He reveals the heart as do few other poets who have suffered an education." 

-Rodney Jones, author of Salvation Blues



"There’s real voice: an all-too-rare accomplishment in these days of gentrified poetry. The language here is consistently fresh—a volatile mix of humor and anger, spot-on pity and forgiveness—that gives the ear meaningful work to do."

-Craig Challender, author of Dancing on Water