"Amid echoes of Joy Williams and David Berman’s Silver Jews, Nate Logan populates his second book with a cast of off-kilter characters—a hamburger historian, a fanny pack-wearing contessa, a malapert surveyor—who speak in snippets of dialogue worthy of a Coen Brothers script. [...] Wrong Horse bets it all on the odd and comes in true." – Shanna Compton, author of (CREATURE SOUNDS FADE)
"Wrong Horse calls the universe’s biggest bluff: what if this is all there is? The tiniest miracles, muted glories, a longing for escape so intense that it creates a new way out? Nate Logan’s poems speak from the other side of a vast span of time and experience. These poems have seen things. They sneak up on you. They pull on mundane moments until the daily becomes dramatic, then absurd, then holy in its strangeness." – Lauren Ireland, author of So Below
"In a Nate Logan poem, one thing follows another and that’s the plot. [...] With Logan 'We talk like this for some time, getting nowhere,' but nowhere is a place too. With Logan we might be 'betting on the wrong horse,' but we are seriously betting. [...] If, as Dickinson says, poetry 'dwells in possibility, a fairer house than prose,' the exception is a good prose poem. If poetry doesn’t make for new possibilities, why bother?" – Lesle Lewis, author of Rainy Days on the Farm
"Amid echoes of Joy Williams and David Berman’s Silver Jews, Nate Logan populates his second book with a cast of off-kilter characters—a hamburger historian, a fanny pack-wearing contessa, a malapert surveyor—who speak in snippets of dialogue worthy of a Coen Brothers script. [...] Wrong Horse bets it all on the odd and comes in true." – Shanna Compton, author of (CREATURE SOUNDS FADE)
"Wrong Horse calls the universe’s biggest bluff: what if this is all there is? The tiniest miracles, muted glories, a longing for escape so intense that it creates a new way out? Nate Logan’s poems speak from the other side of a vast span of time and experience. These poems have seen things. They sneak up on you. They pull on mundane moments until the daily becomes dramatic, then absurd, then holy in its strangeness." – Lauren Ireland, author of So Below
"In a Nate Logan poem, one thing follows another and that’s the plot. [...] With Logan 'We talk like this for some time, getting nowhere,' but nowhere is a place too. With Logan we might be 'betting on the wrong horse,' but we are seriously betting. [...] If, as Dickinson says, poetry 'dwells in possibility, a fairer house than prose,' the exception is a good prose poem. If poetry doesn’t make for new possibilities, why bother?" – Lesle Lewis, author of Rainy Days on the Farm