In most poetry anthologies, the inclusion of images is typically complimentary; however, Klein’s work bucks the trend with stunning photographs that inspire further exploration, both of the mind internally and the treasures of the world externally. Though the poetry, contributed by several poets, exhibits no distinct rhyme schemes, its narrative tendencies are aided by the steady use of similes and personification such as the smiling moon, years unfolding like waves, or the mind being a canyon of limitless opportunity. Nevertheless, the photography is undoubtedly the showstopper and fits seamlessly within the poems. The camera is an opportunity to personalize life from your own perspective, from your own lens, and Klein certainly takes this philosophy to heart.

Structurally, the first half of the work is predominantly the poetry and images, while the second half provides an in-depth glimpse into Klein’s thought process and technical approach. Whether it is capturing the eye of the finch in “Finch Songs,” such that the eye seemingly pierces the soul of the readers or the innumerable complexities and attention to detail required to bring “Pacific Moon” into existence, Klein’s eye for light is not unlike the artists whose works grace the pages of art history textbooks and reside in museums. Specifically, his focus on light seems to be adapted from artists like Rembrandt and their focus on chiaroscuro, the alignment of light and dark on the canvas. Simultaneously, the orientation of abstract designs certainly evokes the remnants of cubism.

The photographs and poems dig deeper than simply what’s on the surface, probing into the metaphysical. In “Pitching the Rules,” the theme of releasing one’s self from anchors that inhibit a life of fearless creativity and exploration rings true. Overall, Klein’s anthology is a must experience, a testament to the age-old saying of a picture being worth a thousand words.

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