"Wing-Chi Chan's poetic eulogy, Mass for Nanking’s 1937, is a courageous attempt to bring our senses to the charnel sensuality of the event. He applies his musician's ear to the words his eye calls forth. Any such protracted monstrous event could only be imagined with a certain surreal dissonance, and that is what Wing-Chi has drafted for us. The poem moves from a calm and rational conception to an appropriately grotesque wildness. By the end of the first section to the poem's end, his words join together in a logic only those dark places in our subconscious that we seldom peek into can parse. It asks, how does one face what one cannot bear to see? But face these things we must if we are to excise them from human behavior. I am grateful to Wing-Chi Chan for the confrontation.
—A. B. Spellman, Poet & Witness to Jazz. Former Deputy Chairman, U.S. National Endowment for the Arts
"I understand Wing-Chi Chan’s poetry as making a statement about “global partnership” as an alternative to any monocultural “globalization,” as he himself suggests in a note to one of these poems. Rather than trying to be typically American poems, these experimental soundscapes investigate what emerges when English words are deployed in complex musical shapes derived from both Western European and Chinese models. The result will astonish even many intrepid readers."
—David McAleavey, Ph.D., Professor of English, George Washington University
"There could be intellectual arguments about the governability of language and whether or not its only purpose is to articulate a clear message. This is not Wing-chi Chan’s intent. Chan writes poems worthy of a field of discussion. Sometimes they are drawn biographically; other times they pose interesting historical questions; but, always the writing is bold, varied and heroic in new forms. Chan dares to literalize a contest of forces—not only Eastern and Western thought, but by poetry coupled with music. He liberates language with complex animation creating sonic landscapes. Chan’s art is to disrupt and connect, to disturb and delight. His emotional vocabulary comes from eastern thought flavored with western classical music. This is unique but will find its way to the reader. Ideas that are new will always be outside the norm of what is expected. Chan dramatizes ideas with spontaneous pleasure. His artistic identity is like no other. It’s a sensory world come alive through poetry. His choices are alternative ones. He is liberated."
—Grace Cavalieri, Producer/Host “The Poet and the Poem from the Library of Congress”