Reviews of Seuss's work often note her technical acumen. Writing about
frank: sonnets in the ''
Women's Review of Books, Laurie Stone notes "More than anything, it strikes me, she loves the individual sentence and line." Los Angeles Times'' reviewer
Victoria Chang says that Seuss is "writing some of the most animated and complex poetry today," and goes on to writeIn an age where poetry can so easily be simplified into small one-dimensional sound bites to share on Instagram or Twitter, Seuss's poems aspire to complicate, drawing connections between seemingly unrelated things, flowing in and out and back and away from their initial triggers.
Four-Legged Girl Seuss's third collection,
Four Legged Girl, is "concerned with loss," including the deaths of her father and of a former lover, but also addresses "importance of living in the present," writes Marybeth Rua-Larsen. She goes on "In
Four-Legged Girl, Seuss not only turns the common associations of flowers as gentle and delicate things easily damaged into symbols of strength and aggression but does so with energy, inventiveness, and a wildness that is incapable of being tamed." In the
American Poetry Review,
Margaree Little addresses the collection's title, which refers to
Myrtle Corbin, a Victorian-era woman born with four legs and who appears on the cover of the book. Seuss begins and ends the book with works taking inspiration from Corbin.
Four Legged Girl was a finalist for a Pulitzer Prize; the nomination called the collection "a gallery of incisive and beguiling portraits and landscapes."
Still Life with Two Dead Peacocks and a Girl Seuss's collection
Still Life with Two Dead Peacocks takes its title from the Rembrandt painting of the same name, and each section of the collection begins with an image derived from the painting. Reviewer Laurie Stone writes that the poems' use of painting allows them to "freeze time" and makes them a "lab for experiments with language, rough emotions, and the indeterminacy of feeling."
Los Angeles Times reviewer Victoria Chang describes the effect of Seuss's use of painting to frame her poems: "By the end of the book, we see how a painting (and the speaker's life) have become so much more because we have taken the painting (and life) apart and expanded each fragment.... art, in particular still life art, is anything but useless." Critic Meryl Natchez writes that :... in
frank: sonnets, [Seuss] provides fresh imagery, calls out the male icons of the '70s and early '80s New York scene, and directly grapples with loneliness, addiction, abortion, and death. The language is often startling, the incidents pried open for the reader to enter and observe. The overall arc of the book is memoir: stories of grief, of questing, of trying to make sense of a complex life. These poems appear in the order written, with long sequences about Seuss's father, her lovers, her exploits and failures, and the death of a close friend. The Pulitzer Prize committee described
frank: sonnets as "a virtuosic collection that inventively expands the sonnet form to confront the messy contradictions of contemporary America, including the beauty and the difficulty of working-class life in the
Rust Belt."
Modern Poetry Seuss's 2024 collection,
Modern Poetry, was a finalist for the
National Book Award for Poetry. It was also one of the
New York Times's 100 Notable Books of 2024. One poem in the collection, "Romantic Poet," was featured in an article by
New York Times critic
A. O. Scott under the headline "Will You Fall in Love With This Poem? I Did." In it, Scott offers a close reading of Seuss's poem, which itself considers famed
Romantic poet
John Keats. Scott sees in the poem an "unromantic, prosaic, crude" physical description of a "stinky, runty, manifestly unlovable poet" paired with praise for his "immaculate art." He concludes "Keats himself, made real in Seuss’s poem — a living, embodied presence she cannot help loving, in spite of whatever unpleasantness her scholar friend might reveal about him. That’s true romance." == Selected works ==