[Martin Booth] is far too inclined to settle for easy answers, viz. his imitations of Crow, his intermittent sentimentality, and his rather easy recourse to the imagery of magic. He is one of those who hold the iatric view of poetry, that it exists to resolve the forces of the unconscious…. Booth's work is best when he focuses his style firmly onto the object in view, with certain personal ironies implicit underneath as in 'Whales off Sasketeewan' and 'Direption'. And when he combines his mythological interest with a sense of the present time, rooted both in history and in the galactic dimension, then the writing really does seem to promise something…. (pp. 111-12)

Roger Garfitt, in London Magazine (© London Magazine 1974), August-September, 1974.