Psalm to Whom(e) centers on Kansas and rural Texas, places
that usually see the underside of planes.
Glancy focuses on geography.
History. Origins. Memory. Faith.
Once in a while, in desperation, she offers a prayer to whom(e)ver is
there. Glancy stretches and pulls the language to see behind the words: old
Native thought patterns, for instance, or echoes of Gertrude Stein. She takes
us with her into museums, churches, and national parks, shuttling freely
between personal, cultural, and spiritual history, narration and poetic
exploration.

Psalm to Whom(e) defines the world as a place on which to
mark, as evidenced in the earliest pictographs.
Embedded in the markings on cave walls and rock facings are circles and
spirals in which the impulses to move, to travel, to migrate, to explore one's
own inner wilderness and solitude are homed.

The "whom(e)" is in an essay, "Among My Friends Are Letters
of the Alphabet." "As a loner I write a
lot because I have to have something to do and the letters of the alphabet
always are there." The isolation of Covid may have driven her farther back into
history, she says. Into the beginning of faith on the prairie. Into her own believing on her grandfather's
farm and her own father's work in the stockyards. "Sometimes I add letters to
words. As an 'e' as in 'whome' because
then I see home, for which I always am looking."