Martinez offers intimate, introspective looks inside his speakers while simultaneously casting a critical eye across culture, history, and identity politics. Truly a collection to be digested in full measure.
Poems scatter across the page in starburst shape, with fragments often disconnected spatially and syntactically. Pay attention, though, and you'll hear the music (some of the poems are even musical scores) and see the glowing, tactile beauty in these intensive pieces.
Martinez has essentially raised the bar for both the learned writer and the learned reader.
—Rigoberto González, author of Red-Inked Retablos
A precarious altar. A mythopoeic, fractal grafting. In the Garden of the Bridehouse reseeds myths, languages, Americas.
—Joe Hall, author of The Devotional Poems
Martinez enlivens gender configurations, surpassing male-female dualities of natural and cultural conception, to construct a psychological space: an architecture of creation.
—Roberto Tejada, author of Full Foreground
Self-portraits as anima, time-travel, wounded swans, In the Garden of the Bridehouse is a mutilated garden of Eden, one that more accurately represents our gender fractures, our material desires, our fall, and our arrival as song.
—Andrea Rexilius, author of Half of What They Carried Flew Away