“Valerie Hsiung’s To love an artist is a work composed of dislocations--or rather, durations, expanses of dislocated voices, bodies, and narratives. It is a series of studies on ductility and leaching--what we are at our base and what we become when brought, whether violently or voluntarily, in proximity to others, other species of being, other modes of existing, other methods of naming: the lines we cross, “Language from bronze infects language from copper.” When the poet writes, “Today, I speak a language of brutes,” I read the enfoldment of the cruelty our collective and respective histories into the languages of our subjectivity. Any expression of self or free-ness or united-ness is laden with material and intentions that do not belong to us. We have been mixed forever, we have been poured and burned through borders always, and are ourselves burned and poured through. And that is why it is useful to invent forms for the expression of our alloyed selves, to be non-knowing. To love an artist presents a despondent, broken, scattered form. Yet, it pulses with nuance and engagement. It’s beautiful, irreverent, and dangerously incoherent. It stays with you when you’ve stopped reading it and puts your seeing in disarray. It nourishes and it fails and it teaches. This is a book of refusal. It is a cosmography written as metallurgy; it wants to be the dust and it wants to be the friction.”
            - Renee Gladman

“To love an artist is to be drawn into her world so that you become a co-creator with her; To love an artist is to enter both a bestiary and topiary of language where the latter contorts and morphs through strange yet recognizable beauty; To love an artist is to enter the worlds of philosophy, history, politics, and most importantly the quotidian—passing seamlessly from poetry, to the essay, to reflection, to observation while remaining always within the landscape of poetry, as you navigate its repetitions and obsessions and become co-creator; it is to witness the play inherent in language as it meanders “the abyss between literacy and what (the poet) meant to say.”  To love an artist is to indulge in a form of disquisitionary poetics with a sometimes wry humour and all the while looking at the world aslant. It is astonishingly original work—To love an artist.”
            - M. NourbeSe Philip

"In this shifting assemblage of verse, prose poems, scenes, performance scores, charts and maps, ‘Time unjumping from windows,’ Hsiung’s speaker emerges through clashes of language and its structures—its traumatized syntax, its colonialist dictionaries, its abusive evasions, its obfuscating corporate speak, its xenophobia and its patriarchalism, and its capacity to scorch and dazzle. Out of the urgent ‘confrontation of language,’ outside voices please issues an utterly new invitation into and beyond language: ‘Let us form the obtuse and acute angles of this assaulted triangulation.’"
           - Lauren Russell

"Valerie Hsiung’s outside voices please is earful of delicate worms wriggling and crisscrossing ocean box. Scattered mouths on its own island. Ocean twisting full of video monitor eyes paging through dead news. Girl flipped around bench tasting each hinge in plastic word. What’s in pocket of each word, the books asks of blurred language? Savage corner you turn around, angle your eye slides down, a close record of each infiltration."
          - Ching-In Chen

“This book descends like a feral cloud from the abyss, able to change the weather of its reader through a hypnotic, swaying performance. A multidimensional braid of gestural vibrancy and "autobiographical transnational history" threads this temporally fluctuating lyric graveyard of intimate energies. Hsiung reminds readers to "slow down the vessel" to consider the ways in which the poet ionizes meaning, memory, and language itself, blurring the "frames within each frame" into new organisms rising and singing from the worm-rich mulch of The only name we can call it now is not its only name."
          - Angel Dominguez

“Valerie Hsiung’s The only name we can call it now is not its only name takes us through the territory/lessness of the exiled: what is done to location, how one locates the self and community, and the journey to arrival should there be one. The tongue of the exiled contains multitude voices and forms. Hsiung’s poems speak to me about the performance of arriving at language reached through translations, through arrangements of letters that is also a displacement of other letters, territories, and bodies. The twists and detours in the story of “a place where I could not speak at first. I had to learn,” speaks also to the journey to language the autobiography of community. What we think of as voice is not free of the politics of dispossession. In this landscape, the only certainty is that of impermanence and of change. The poems resist the meanings we might ascribe to it, slip into forms when we think we know its name. It’s a stunning collection. “
       - Tsering Wangmo Dhompa

“In the fleeting, quicksilver language of Valerie Hsiung’s You & Me Forever, accumulated peripheries jostle, rock on the waters, gain some traction, but they never quite settle. The worlds Hsiung delicately folds together create friction, a low steady hum builds and then disperses — only to try and build again. We, the reader, are invited to sit inside the hum of this continual construction, to place our bodies in the chamber alongside the many other bodies that fill You & Me Forever. A thread pulls us along. What saline logic this book holds.”
            - Asiya Wadud

          - Rosa Alcalá