In Case of Loss reveals Seiler's essays to be different to, but on a par with, his fiction and poetry. Beautifully anecdotal and associative, they throw a light on literature and his East German background, including the Soviet-era mining community he grew up in, and are full of insight, humanity and an attention to overlooked objects and lives.

Praise for Lutz Seiler's Pitch & Glint‘Pitch & Glint resists description but compels shock, admiration and envy. It has something of the amphibrachic chant of early Celan, jolie-laide language, lower case, ampersands, a harsh and physical sampling of a childhood in a working landscape (the uranium mines) in the last years of the GDR.’ Michael Hofmann‘Pitch & Glint was an event, because all of us who still believe poetry can do something, felt that something was being given voice by this poet, something that would otherwise have been hopelessly lost.’ Michael Krüger‘Epoch-making.’ Angelika Overath, Neue Zürcher Zeitung‘Seiler's poems are original. They have body and a rhythm. They breathe dust and dirt, the desolation in minds and homes, the collapse and change, but their form is so strong that something new arises.’ Ursula Krechel, Der Tagesspiegel‘Here the contemporary appears with archaic force.’ Helmut Böttiger, Frankfurter Rundschau‘Seiler is not aiming at reportage, not a documentary recording of places and landscapes. He is after the images with which they are internalised: how they get into people's bones. Distrustful of fixed rhyming schemes, he throws his lines like garlands over the sentence structures, playing with internal rhyme and alliteration, closer to Dylan Thomas than Peter Huchel. This slim, wonderful book is like a seashell: a part of Germany is enclosed in it, in a rush of sound.’ Lothar Müller, Frankfurter Allgemeine Zeitung‘Seiler's art is an inbetween one. Pitch & Glint *remains a secret until you find a way in, reading it as an evocation and as a challenge to move in echoing sounds.’ Martin Ahrends, *Die ZeitMore Praise for Lutz Seiler's Poetry‘Seiler has masterful command of a subtle style, both skittish & firm in its diction and movement, tense and tensile in its branching extensions and jittery vertiginous drops. One could call it elliptical, but it’s more a kind of binocular vision, with one lens ground for cosmic focus and the other for a microscope. The voicing of such vision shifts from ecstatic to abject; the idiom is constantly sliding, smearing, merging to connect phenomena and feeling in work that opens a new approach in the ecological awareness currently driving poetry on both sides of the Atlantic. Seiler has effectively rewired the lyric for the twenty-first century, tuning the dial of the poetic to its lower frequencies, where the signal can pass through walls.’ Joshua Weiner, Poetry magazine