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“The poems of Mari-Lou Rowley’s Suicide Psalms are deft, double-edged, `kill sites bedded with violets,’ songs of violent beauty. Scalene: the constantly shifting, sharpening edges and angles (no two sides ever the same) of Suicide Psalms’ three movements balance, ultimately, in a perfect complex structure. Dissonant; harmonic. Rowley’s poetry, as always, a snapping, synaptical singing, stinging electric. In the necessary, unpredictable climate of Suicide Psalms, “the wind fingers/all possible points of entry/conclusions/ways out.’” — Sylvia Legris