Upon publication of The Lady in Kicking Horse Reservoir in 1973, Richard Howard wrote, “Richard Hugo’s concern is the unenviable, the unenviable, the unvisited, even the univiting, which he must invest with his own deprivation, his own private war. . . . Each poem adds its incisive particulars to the general stoic wreck; but what startles, then reassures in all this canon of the inconsolable, the unsanctified, the dispossessed, is Hugo’s poetics, the analogy of language to experience. . . . Richard Hugo is such an important poet because the difficulties inherent in his art provide him a means of saying what he has to say. It is no accident that he must develop a negative in order to produce a true image.”