From Library Journal It is refreshing to encounter work with none of the anxieties of making connections， that all-too-common desire to have the shorter poem cohere. Rudman has found a way of writing from the everyday with all its "unpoetic" contingencies and does good work toward making it intelligible. Through the trajectory of the entire book， which is both one and many "poems，" we get to know the subject， Rudman the poet， and his city， New York?without which it is impossible to imagine this vivid and arresting work. "It never stops being odd/ being snowed in/ in a big city." And why the Millennium (a 2000-room monolith in lower Manhattan)? Because "it's the only hotel I could find on no notice to escape with a pool/ and circuitous skies， reviving to impossible/ blue-grey-gold，/ through which the reddish brick can be itself again." It is a subject， like all of us， perpetually adrift on the backstreets of memory， in constant pursuit of higher ground， of relief.?Steven R. Ellis， Pennsylvania State Univ. Libs.， Univ. ParkCopyright 1996 Reed Business Information， Inc. Review Alice Fulton : "The Millennium Hotel enlarges upon the themes that appeared in Rider and includes several of the same players and personae. The books build upon each other to create an increasingly rich linguistic world. Rudman is writing a sophisticated poetry of polyphonic voices. He engages the questions of the subject position and the construction of the self obliquely， in poems that 'think on their feet.' See all Editorial Reviews