“Heroic, indeed. These poems are dauntless. In Four in Hand, Alicia Mountain’s sonnet series refuses the pull of thematic or stylistic singularity & favors instead the unrelenting materiality of interpersonal collage & sociopolitical pastiche. Mountain has not only satisfied the demands of all great crowns, but bettered them: with the language of politics, illness, class warfare, & the intimacy of the lesbian gaze, Four in Hand sweetens the cycle of our times—pandemic within pandemic—& pulls us back inside the volta where we remember our own humanity & haven’t yet forgotten one another’s. What a phenomenal & necessary feat.”—Meg Day, author of Last Psalm at Sea Level

“Four in Hand applies the gentle pressure of imagination to the possible world. Intimacy and expansiveness, grounded in episodic grace and sensual generosity, fuel Alicia Mountain’s work. Her words present us with beauty and allow us to revel in it, despite feeling ‘held tight like too much hope.’ We are shown emotional and environmental devastation, and given the music to reckon with the painful awareness that transforms best into action, repeated. Four in Hand is a blood rush, a mode of love in language crafted with care and immersion and insistence, harnessing the power of ‘a swarm/keeping quiet when I want to howl.’”—Khadijah Queen, author of Anodyne

“In Alicia Mountain’s Four in Hand, the speaker tells us that the book is ‘a monument to touch,’ but more pointedly, it plays with an erotics of geography where thunder ‘spanks the hills,’ where one is encouraged to ‘drink the tidal push,’ where ‘tectonic shifts are underway.’ What is Mountain telling the reader about a storm that cannot be felt until the moment we feel ‘wrung out’ by its torrent? About a howl that cannot relieve what a beloved has buried within them? In these four sonnet crowns, each masterfully executed with their own distinct rhetorical and linguistic logics, Mountain enacts an alternative to catharsis; posits a kind of anti-catharsis. There is no rising action and then relief, instead Mountain interpolates what happens when the world does not change, but repeats, and insists on its tired holding patterns. Four in Hand doesn't simply tackle the failings of global health industries, the precarity of queer spaces, or how the language of risk and resilience end up recoding bodies through capital, it commands something else of ‘our sharp parts.’ It points us to an elsewhere of possibilities.”—Megan Fernandes, author of Good Boys