Strange resemblances come to light (Predators, Wrenching the Wheel); everyday objects take on a life of their own (Alarm Clock, The Lens Vig, The Bedazzled Stag); and no matter where the reader finds himself, the scene can be both startling and familiar (The Night the Seaside Funhouse Burned, A Backyard Vignette).
One of L.G. Hertz's favorite subjects is American English with its quirks and delights, and his light-hearted humorous poems — such as My English-Speaking Dog, A Quartet, and Summer Reading — show a special appreciation for students, especially those who are learning English as a second language. The history of English is a source of fun in Sleeping Beauty, The Bubbling Vernacular, and Degenerate.
Many of Hertz's poems focus on music and the arts (The Piano Tuner, The Portable Soprano, Bas-Relief). Architecture in particular was for Hertz a mirror of human emotions (Shibumi and the Baroque), and within the varied settings of his poems, images mix the outer and inner world (In a Draft, The Elevator Banks of the Lethe Building, Portage.) Familiar landmarks are seen in a new light (The Hotel St. Bonaventure), and foreign locales are inseparable from American culture (Remake, The Tourists, The Un-Exotic).
"A poem is a conversation between two friends — the reader and the poet," said L.G. Hertz. "They both contribute their own personal reactions, and as long as the reader keeps on reading, the conversation develops." Hertz's poetry invites readers to accompany him into variations and complications (The Fire Discusses Everything, Branch Line, Another Algebra).
Hidden affinities lie at the heart of all of the poems of L.G. Hertz, and he returns again and again to the theme that antiquity is inherent in modernity (The Roofers, Two Magi, Intermediaries), and religious faith inherent in science (Equilibrium, The Universe is Verbs, Duns Scotus on Television).