Woman on the Run is emotionally steeped in the atmosphere of film-noir: menace and fatalism. Sarett is both savvy and sly, sketches spare yet memorable scenes: "I pass the tragic donut shop with stale/coffee where old men slump over yesterday's/Times, refugees from the breadlines left-over/from a few depressions ago" ("Seconds"). She returns us again and again to her unique versions of the femme fatale: "...I forgot/what happens to women's/bodies/on unimportant nights" ("post abortion interview").

Woman on the Run is emotionally steeped in the atmosphere of film-noir: menace and fatalism. Sarett is both savvy and sly, sketches spare yet memorable scenes: "I pass the tragic donut shop with stale/coffee where old men slump over yesterday's/Times, refugees from the breadlines left-over/from a few depressions ago" ("Seconds"). She returns us again and again to her unique versions of the femme fatale: "...I forgot/what happens to women's/bodies/on unimportant nights" ("post abortion interview").

Woman on the Run is emotionally steeped in the atmosphere of film-noir: menace and fatalism. Sarett is both savvy and sly, sketches spare yet memorable scenes: "I pass the tragic donut shop with stale/coffee where old men slump over yesterday's/Times, refugees from the breadlines left-over/from a few depressions ago" ("Seconds"). She returns us again and again to her unique versions of the femme fatale: "...I forgot/what happens to women's/bodies/on unimportant nights" ("post abortion interview").