Jena Woodhouse, from a review of ‘Tourniquet’, published in foam:e, issue 19

The heartland of Tourniquet lies in the haunted, haunting terrain of its unsettled and unsettling topographies, including the body. As unsparing and unflinching in her gaze as the outback light, Vanessa Page has a sure grasp of her subjects and the poetic forms that can best accommodate them. In bringing a female gaze and sensibility to bear on the badlands and wastelands of personal relationships and landscapes, especially the marginal terrain of small, isolated settlements, and in seeking out the redemptive possibilities of reconnecting with body and spirit in physical encounters with country, she has generated some powerful poetry.