A Tapestry of Absent Sitters is an excellent collection. I like the way in which it manages both to draw upon the recesses of English literature, and deal effectively with contemporary matters - the easier way, these days, is to write as if the postmodern present is all that existed and, in Morrson's resistance to that, he shows a considerable amount of quiet courage. I particularly liked three of the ’place’ poems - ‘Rainbow Road’ (one of the best ’Brighton’ poems I’ve read), ’Shrewsbury Apercu’ and ’Seeing The Night Entirely’ (the best of the Swedish pieces in my view). Of the sections, my favourite would be the final one, both for relatively short pieces such as ’Mister Aspidistra’ and ’Ravelling Williams’ and for the full-on Gothic of ’The Ghosts of Haworth’ (a splendidly untimely piece).

- Norman Jope, author of The Book of Bells and Candles 

‘Elocution Lessions’ is a nicely-nuanced piece. ‘A Stone's Throw’ is very, very strong. It comes, I think, from the same territory as Auden’s 'The Shield of Achilles'. ‘Vintage’...a powerful summation - vintage Morrison - which might, indeed, find maturation into adage.... ‘Tomorrow Will Be Another Day’ is damned good. ‘Now Barabbas’... Arthur Koestler meets Monty Python! ‘Laughter in the Bathroom’ works well: just sufficiently artful; also pithy and well-observed. Another gem.
- Kevin Saving
National Poetry Competition 2005
Prize Winner (Third)

Staggeringly marvellous. This book has all that poetry needs: the voice, the rhythm, the passion. Absolutely fantastic.
- Barry Tebb

A Tapestry of Absent Sitters is an advance on The Mansion Gardens. It is, like its predecessor, full of what I've come to regard as 'Alan Morrison-ism' - certain verbal characteristics, certain ways of using language in a very personal way. I'm not sure how else to describe it - I would have to quote a few examples - but for me it is unmistakably there. 'Praise with Faint Damnation'; 'Organ Grind'; 'Absolute Berliners'; 'Tall Thoughts in Gamla Stan'; 'Seeing the Night Entirely'; 'The Dead Falls'; 'Driven in Sundsvall'; 'Where Banshees Brought Me'; 'Shadows Die Hard', are all very good poems. Morrison has made a fine job of the villanelle, the first poem in the book. I know from experience that the villanelle is a difficult form to handle, especially regarding the two refrains and maintaining the momentum without becoming stale or banal. I congratulate him on this. But for me the cream of the collection is the group of four poems set in Sweden, cited above. In these four Swedish poems one feels Morrison has achieved a much greater fidelity between the language he has chosen and arranged and the experience which generated the poem. It is this quality that lifts the collection above its predecessor. I feel if Morrison achieves something like that level of fidelity in his work to come he will really be getting somewhere.

- Norman Buller,
author of Sleeping with Icons