Praise for Holding Unfailing (2017):
Intriguing, supple poems that range across the world and across the landscapes of the mind.
– Sarah Howe
This collection has for its central focus scenes from contemporary China, observing with detachment and direct emotional intent those personal landscapes which fan out from Ragg’s experiences
of a country undergoing profound change.
Such landscapes and the burdening memories accompanying them create poems of concentrated philosophical energy. They search and question.
Ragg explores paths and places across a world shot through with colour. Yet he reins back from the expected celebratory note, in order to sift truth from falsehood, to travel from height to abyss.
This is a wide-ranging and thought-provoking collection.
– Penelope Shuttle
Praise for A Force That Takes (2013):
Perhaps the most important feature of Ragg’s poetry is the movement of strong enjambment that carries a feeling of thought taking place. Thoughts arrive by traversing space and overcoming the resistance constantly of the poem for a moment being suspended before acts of thinking determine a path. This is a very important aspect of contemporaneity despite the lack of pretentious avant-garde status.
I want to note the lovely intricacy of the idea of portraiture in ‘Arriving On the Scene’ and the great love poem ‘If Only’ that personalizes purpose and possibility.
– Charles Altieri
If you give this work the space it needs, and the time it deserves, it will reward you greatly […] Ragg allows the poet’s voice to carry its secrets, and sometimes, that is all we would want: ‘even / this most recent power / of which it is forbidden // to say more, that is poetry…’ (‘Valediction: Or What Is Forbidden’).
It is meticulous, crafted poetry.
– S. J. Holloway
There’s a beautiful tenderness in 'For the Love of':
and yet the woman I love,
her Chinese hair now bending
under the cooker hood
has made me forget winter,
the month of May, the willow
trees bending the water’s way.
Edward Ragg manages to combine the philosophical with personal observations without becoming didactic by a careful choice of words aimed at engaging the reader.
His is an assured, undramatic voice that allows his poems to speak for themselves.
– Emma Lee