[In the following review, the critic provides a positive assessment of Pierce-Arrow.]

With her first book of new poems in six years, Howe further solidifies her reputation as one of North America's foremost experimental writers. Pierce-Arrow engages many of the elements and themes that have consistently appeared in both her poetry (The Europe of Trusts, etc.) and prose (My Emily Dickinson and The Birth-mark). Here, as in previous work, the manuscripts and marginalia of marginal and anti-institutional authors (with an emphasis on women writers) are seamlessly brought together with historiography and lyric—and the results continue to be arresting. The focal points of this book are the American philosopher Charles Sanders Peirce and his wife Juliette, whose full birth name and ancestry remain to this day somewhat of a mystery. For Howe, this mystery becomes a subtle metaphor for the frequently secondary quality the lives of women can take on in male-dominated milieux, literary or otherwise. The book's first section, “Arisbe,” consists of a biographical essay and poems that touch on various aspec ts of Peirce's life and work. The second, “The Leisure of the Theory Class,” is a long series of poems that tightly interweave references to Peirce, Juliette, George Meredith, Algernon Charles Swinburne, Charles Dickens, Edmund Husserl's manuscripts, Alexander Pope's translation of the Iliad and George Santayana, to name only the most prominent and explicit references. Reading and writing between the lines of history, Howe blurs the boundaries between individuals, texts and historical events. Though some of these relations may not appear obvious at first, they strengthen—while continuing to proliferate—as the poems unfold. The concluding “Ruckenfigur,” a series of ghostly love poems, centers around the tragic myth of Tristram and Isolde. More overtly lyrical than the poems in the rest of the book, they provide a strong conclusion to one of Howe's most significant works.