“Cooley makes important use of the evolution of some of the major poems by reference to the manuscripts and typescripts of drafts and makes an especially fruitful case for Seed Catalogue.” Anne Burke, Prairie Journal of Canadian Literature
“…[The Home Place] builds a magnificent bridge across the coulee between writer and reader… Comprehensive and intense, The Home Place unpacks Kroetsch’s long poems The Ledger, Seed Catalogue and The Sad Phoenician. It dives into the very marrow of those works and accomplishes brilliant and suggestive explorations of the feints and allusions that make them great… Cooley and Kroetsch partner one another, dance with the words they both love and respect.” Aritha van Herk, Alberta Views
‘”Dennis Cooley has written a remarkable monograph on Robert Kroetsch that focuses primarily on a handful of his books of long poems.Cooley weaves an astute criticism of Kroetsch’s writing with details of Kroetsch’s private life, with an enquiry into being a writer, and with covering (and responding to) a great deal of previous Kroetsch scholarship….making for an acute study that covers an enormous critical range.” Nicole Markotić, Prairie Fire
“Cooley paints Kroetsch (1927–2011) as a Canadian Weldon Kees, as a 
man well known in certain circles as a celebrated writer, effuse in his friendships yet wandering much of his life and, like Odysseus, never quite sure of home…. Kroetsch had a passion for lists, for cataloging, his language catapulting emotion like the language of Gertrude Stein. One can read into his work the influence of Walt Whitman and Mark Twain, language without sentiment, crisp lines without meandering. Kroetsch’s language pulls readers into his world, where the heroes spend their time alone, repeating words, creating new meanings. Cooley’s collection reflects on the enigma of Kroetsch and the life of a poet in the 20th century. Recommended.” K. Gale, Choice Magazine
“In Cooley’s analysis, Kroetsch in his long poems is engaged with both recovering that past as well as finding how to retell it. Cooley writes, “Is he inventing, or is he recording here? . . . He was a fierce regionalist but he also was immersed in formal innovation . . . As a regionalist he understood that language gestures to the world, that it can tie us to the world, and that it is profoundly social. As a postmodernist he realized that those connections are profoundly unstable. . .” Full review. Garin Cycholl, Rain Taxi