Stephen Kampa's poems are witty and restless in their pursuit of an intelligent modern faith. They range from a four-line satire of office inspirational posters to a lengthy meditation on the silence of God. The poems also revel in the prosodic possibilities of English's high and low registers: a twenty-one line homage to Lord Byron that turns on three rhymes (one of which is "eisegesis"); a sestina whose end words include "sentimental," "Marseilles," and "Martian;" sapphics on the death of Ray Charles; and intricately modulated stanzas on the 1931 Spanish-language movie version of "Dracula." Despite the metaphysical seriousness, there is always an undercurrent of stylistic levity -- a panoply of puns, comic rhymes, and loving misquotations of canonical literature -- that suggests comedy and tragedy are inextricably bound in human experience.