A genre-bending back-pocket book. . . . Gritty and intellectual . . . addictive and soothing . . . fitting for just about anyone’s bookshelf. . . . You’re reading the book for second, third, and fourth time. (John Deming, Coldfront) Boully’s sentences are a joy in and of themselves; they move lushly towards the period, transversing commas, semicolons, and colons to accrue and sediment in our own minds. (Rattle) Boully’s fluid, lyrical writing makes what could be a difficult, intimidating read instead a delightful one. . . . Playful engagement with narrative levels of reality (poems within poems, stories within stories). I highly recommend it, especially if you’re looking for a way into the “trans-genre” of prose poetry. (Elisa Gabbert, Open Letters Monthly) Her fresh style challenges the ways in which we construct narratives and read texts . . . and ultimately leaves us wanting more, more, always more Boully. (Catherine Paquette, Matrix) Boully has not only written the speaker’s one love affair, she has written our collective love affair. (Michael Rerick, CutBank Poetry) Boully’s language is accretive and lyrical. It is clear, feels clean in the mouth and sweet in the ear. . . . One begins to feel there another form embedded within the prose, though not a poetic form as much as the formed outline of a lover’s body, a book one has loved, one lover in a line of lovers, lying in the same bed as the former others. (Galatea Resurrects) Aside from the value of her incidental observations and asides, which are as sharp and well-made here as they are in The Body, the greatest virtue of [one love affair]* is Boully’s willingness to admit the personal and the narrative in such a way that doesn’t reinforce those very errors that make heartbreak in actual (if there is such a thing) love affairs inevitable. (Teresa Carmody, The Constant Critic)