Logos (2002) is reviewed as one of the Poetry books of the new millennium (Nijmegen|Ghent: Vantilt|Po√ęziecentrum, 2018) by Jeroen Dera (1986) in his long essay ‘Freedom of ink’. Dera explains the interesting choice of precisely this early collection by Rozalie Hirs as follows:

“Dilemma: which work by Rozalie Hirs (Gouda, 1965) do you choose if you want to highlight the particularity of her 21st-century poetry? Her most enthusiastically received collection gestamelde werken (2012)? Or her third collection [Speling] (2005), because in it the poet brings poetic form into focus for the first time? Or rather its successor Geluksbrenger (2008), because of the six collections it shows Hirs’ background as a musician and composer most strongly?

No: as a starting point for a reflection on Rozalie Hirs’s poetry, it is best to use her second collection, Logos (2002). It is the poet’s first work published after the turn of the millennium, succeeding her debut Locus (1998). […] Logos is especially such an important link in this poet’s oeuvre because here Hirs takes the step toward a more conceptual and multimedia approach to poetry that is also so characteristic of her later work.”

A new generation of Dutch literary scholars and critics also discussed collections of poetry by Paul Bogaert, Anneke Brassinga, Arjen Duinker, Astrid Lampe, Leonard Nolens, Nachoem Wijnberg, Anne Vegter, Menno Wigman, Alfred Schaffer, Maud Vanhauwaert, Peter Verhelst, among others.