Edward Field's poetry is marked by a distinctive casualness, which he purposely embraced to counter the often cryptic nature of modern poetry. His work is characterized by a conversational tone, straightforward syntax, and accessible vocabulary. This style enables readers to engage directly with the text, even as Field subtly incorporates his background as a musician and actor, enhancing the emotive power of his verse.

Stand Up, Friend, with Me

Field's poetic voice embodies a casually personal style that reacts to the incongruities of urban life juxtaposed against nature. In the collection Stand Up, Friend, with Me, Field paints vivid images of animals such as goats, donkeys, a porcupine, and a walrus, reflecting a city-dweller's bemusement at their persistence. Through poems like “Tulips and Addresses,” Field describes acquiring discarded tulip bulbs, which he eventually plants in his window box, hoping their blooms will signal his presence to passersby. This theme of personal expression through nature is echoed in “The Garden,” where he celebrates creating a living oasis in his home: “We have formed a colony in a strange land/ Planting our seeds and making ourselves at home.”

Field emphasizes the significance of personal expression, a theme he introduces in the volume’s prologue by zooming in from the vastness of the universe to a single house in New York, urging the reader to "Look, friend, at me." The personal and the local are elevated, inviting the reader to find significance in the everyday.

Variety Photoplays

The collection Variety Photoplays explores Hollywood's mythological potential through a series of poems inspired by old movies. With titles like “Curse of the Cat Woman” and “The Life of Joan Crawford,” these poems act as dramatic monologues and self-contained narratives. Field's work here often leans into humor, as seen in “Plant Poems,” where he takes on the persona of a scientist proclaiming, "that plants feel as we do… and when you chop up a lettuce it is saying Ouch." This blend of humor and commentary highlights Field's ability to find poetic material in diverse subjects.

A Full Heart

The 1977 publication of A Full Heart sparked criticism from some, like M. L. Rosenthal, who labeled Field's style as "indefatigably prosaic." However, Field defended his style as a reflection of New York's local syntax, aiming for poetry that is more accessible than prose. This collection delves into Field's personal relationships, with poems like “A Full Heart” painting intimate portraits of his family, and others like “Gone Blind” addressing more complex emotional themes: “Gone blind/ he has brought me light.”

Field's typical aversion to symbolism is challenged in the poem “Sharks,” where he uses metaphorical language to explore themes of vulnerability and anticipation of danger. These reflections suggest a nuanced awareness of his own aging and the future, depicted vividly in lines describing the predatory approach of sharks at dusk.

A Frieze for a Temple of Love

A Frieze for a Temple of Love comprises three sections, including selected poems from 1993 to 1997, the long poem “Silver Wings: Notes for a Screenplay,” and the prose piece “The Poetry File.” The collection continues Field's exploration of personal themes, with poems addressing sexuality, bodily functions, and mortality. In “The Spirit of ’76,” Field candidly addresses his feelings toward his parents, while “Death Mask” uses metaphors reminiscent of Emily Dickinson to reflect on life and death.

“Silver Wings: Notes for a Screenplay” offers a narrative recalling Field's military service and love affairs, while “The Poetry File” provides insight into his views on poetry. These sections reinforce Field's independence from traditional poetic norms and his commitment to a personal, unguarded style.