"The poet's struggle to reclaim a home and a narrative of her own are echoes of every person's struggle to be at home in the world...The poet's voice is lively, charged and the images vivid."
(Nelm News, no. 34, December 2000)

"Press delivers many insightful versified struggles surrounding questions of history and migration...Yet the fact that her work is inevitably imbued with heavy politics doesn't mean that it always compromises a stunningly delicate turn of phrase. The poem 'Fire and Ash' at the beginning of the collection subtly reveals a harsh yearning for security and companionship that is subsequently almost, but not quite, attained as the anthology progresses. Ultimately, there is always a cold twist with Press that turns up in your face after she has initially promised warmth. Enjoy, but don't get too comfortable."
(Emma Unsworth, City Life Manchester, 6th December 2000)

"Finely wrought poems about displacement in South Africa and the hunger caused by homelessness. This is the seventh collection by one of our finest poets."
(Maureen Isaacson, The Independent on Sunday, 23rd December 2001)

"The English publisher indicates that the poems are from 1990-95, yet it is interesting how contemporary they are. Perhaps this has to do with the muting of criticism in the immediate post-apartheid state. In addition to the parodies in The Coffee Shop Poems (1993) and the playful, beautifully presented Echo Location (1998), it is apparent that Press continued to work in the mode of resistance poets like James Matthews, Nise Malange, Wally Serote, Farouk Asvat, Kelwyn Sole and Donald Parenzee in the 1970s and 1980s, and indeed in the manner of her own 1990 anthology Bird Heart Stoning the Sea...It is the quality of Press's engagement with national challenges that has this reader looking forward to her poems about the present conjuncture. I hope they will be published locally before too long."
(Priya Narismulu, New Coin, volume 37, December 2001)

"My greatest impression of Press's Home is of elasticity: of place, time, the body, poetic form, and words themselves, all of which dilate and shift our sense of the familiar to strong poetic effect...There is always a sense of lifting off from the 'accumulated selves' of experience, through love, through birth (Incarnate Eternity'), death ('Humus'), through epiphanic moments...'Words are such thin shavings of the fractal fruit', Press writes in 'Purposefully Peeling Footsteps'. This gives them, in her skilled hands, a levity in the face of imprisonment of disintegration which in turn gives Home an elusive yet very genuine feel. The collection does not indicate closure, but offers a familiarity with mystery."
(Sarah Law)