2016, Four Way Books

"In Henri Michaux's Land of the Magicians, the deepest wizadry is the sorcerer's power to 'remove the horizon.' Suddenly we're confronted with sheer experience, no prompts. Maya Pindyck's Emoticoncert has that breathtaking immediacy: the volatile gist of narrative, without the cues... Pindyck isn't a miniaturist: she's a gem cutter with huge themes. The concision, the cumulative force—these poems are musical in their fierceness: not akin to music, but music themselves." —D. Nurkse

"In Emoticoncert , Maya Pindyck writes of the conflicting emotional soundtracks that play continuously in all our minds. These honest, sonically dazzling poems pursue the music of human emotion, of the expressions we are taught to hold back and which appear in every family photograph." —Idra Novey

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Friend Among Stones

2009, New Rivers Press

"Sometimes (most times!) less is more and that is true of these spare yet richly imagined poems... Maya Pindyck's poems very often find exactly the right slant, the right channel, the right wire, the right hypodermic-- straight to the reader's heart!" —Thomas Lux

"Maya Pindyck's poems are intense and magical, but they don't achieve their effects by tricks of illusion or legerdemain. Instead, they stick steadfastly to the truth, and reveal in wonderfully clear and distinct language the strange, awesome magic at the heart of things." —Vijay Seshadri

"Maya Pindyck possesses such a keenness of eye, such a linguistic intelligence, that her poems charge the atmosphere with Technicolor vigor & straightforward revelation. These are relevant poems, & their beauty & strike shock me, like the first time I ever saw a cardinal." —Aracelis Girmay

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Locket, Master

2006, Poetry Society of America Chapbook Fellowship

"Maya Pindyck's poems are notable for their wonderful combination of being at once densely packed and voluminous, like parachutes. A descriptive facility is everywhere evident, in the 'two gray parrots with necks like birch back' ; in 'the pile on the chair/made an animal I can't forget," but is all the more powerful for its not being belabored. The combination of matter-of-fact and magic is reminiscent of William Carlos Williams... It's a pleasure, then, to welcome a poet who is capable of immediate power without the plodding one-dimensionality with which it is so often accompanied, of weight without the sense that one's somehow being burdened, of translucency without the sense that one can see right through it." —Paul Muldoon