What I truly love about Samarrai’s writing is the brilliant dislodging of epochs and people, eruditional toying with the documented and the fictitious, the unpredictability, the lavish fancy and terrific dialogues. One should not be Tagore to enter the Garden of her worlds and labyrinths, where Mozart and Trier meet, Wagner and Bach, or rather Bachs. With Samarrai time and space are toys, an occasional means but never an end, rather a limbo where they, in fact, do not exist. In her necropolis living people dwell, , while the dead or undead roam the city streets, and those dislodgings seem quite convincing, realistic, even logical. This writing and Samarrai as the author both deserve a far bigger readership, for the fate of the poem-the verse-the tale is not to be silent nor is it the fate of great authors to be unmentioned.