From the diary writing process of “Awake” to the Borgesian universe in “Statement of Aesthetics,” Andrew Allport’s poetry displays a significant range united by an obsession with lexicon: Allport’s speakers explore, upturn, and expand on words that carry unique psychological resonances. In “Passport,” a first kiss grows large enough that it can be boarded “each night,” an image simultaneously evoking romantic beginnings and coping mechanisms for a somatically troubled speaker. Literary engagement occurs because of “some upheaval in circumstance.” Poetry becomes therapy.
"The poetry is shaped by its excitement. It rips into new visions with almost every sentence, while simultaneously jostling the reader around with its sharp line breaks. Each poem forces the reader to jump with it, line to line to line, and to therefore also acknowledge its physical attributes on the page—here, the eyeball falls through the poem until it smacks into 'shelves.' Christle’s work is anything but flat, measured, and predictable. Later in the above poem, Christle plays 'I spy' with the reader ('I spy, with my little eye, / the German city of Hamburg'), goes to Zanzibar, and then becomes a marauder."