Mr. Williamson is endowed with some of the rarest poetic faculties: an eye of engraver’s accuracy, a fine linguistic flare, and enviable ability to use forms to his eloquent advantage, and a huge zest that is sometimes modified by sympathy, nostalgia, or an uncommon ability to adopt voices, views and feelings of others.
– Anthony Hecht
Greg Williamson’s verbal wizardry is again on display in these funny and darkly serious poems. As Richard Wilbur said of his first collection, The Silent Partner, Williamson “is concerned…with the fugitive nature of all orderings.” And here, in the latest tile in the Sewanee Writers’ Series, the doublings and hidden dangers in life and language ricochet wildly, as in the quadruple look at people’s relationship to nature and metaphor in “The Dark Days”…These obsessive themes lead to a final section about the difficulties of any artistic quest in these disordered times. We hear from a sesquipedalian security mirror and a disapproving muse, join in progress a medieval romance in a shopping mall, despair with Wile E. Coyote, and see the poet’s frustrated efforts at a life in art in the title poem, a meditation on modern times-times filled with computer glitches, phone trees, and talk radio.
The Invention of a New Form
Errors in the Script was runner up for the NYC Poet’s Prize and is most well known for its inventive sequence of poems called “Double Exposures,” which John Hollander described as “deploying a technical device which totally transcends gimmickry, and, itself a fecund metaphor, allows the poems themselves to raise questions about knowledge, memory, and their own stability and truth.”
More Praise for Errors in the Script:
“I know of no one among the young who writes with more wit and invention and vigor and accuracy of observation than Greg Williamson…This poet seems to take pride as well as delight in setting himself problems to solve and the solving them. Verse turns poetry before one’s eyes – and in one’s ear. Highly recommended.” – Donald Justice
“No recent book I know displays the ingenuity of Errors in the Script, none in which colloquial diction and elaborate rhyme scheme, relaxed disclosure and metrical order enact such a pleasing mutuality of purpose. Greg Williamson’s poems, in their eccentricity, display a kind of truth, a wittiness that does not fail to dazzle and delight” – Mark Strand