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Poemland
Poems both punishing and radiant. No one is writing like Minnis, and no one should dare.
Baby, I Don't Care
A playful collection of poems reconfiguring iconic dialogue from classic American films to upend notions of love, wealth, gender, and consumption.
Bad Bad
"Juvenile mockery of poetry and the American poetry establishment, as well as excited reverence for both, are the themes of [Chelsey] Minnis's second collection."--Publishers Weekly "Decadent! Childish! . . . indulgent and melancholy . . . moments of extreme morbidity and anger."--Arielle Greenberg "Her poems take some getting used to."--Robert Strong "Many won't find her . . . acceptable at all...--Cole Swensen
Zirconia
Chelsey Minnis's formal invention and wild personae represent a progressive yet individualized position in the galaxy of truly contemporary poetry. Zirconia's female speaker is by turns fatigued, charmed, wishful, battered, sly, perverse, and omnipotent. These poems engage a material world not unlike ours yet featuring a phantasmagorically elliptical relationship to the dimension of real action. Her speaker is detached, but alive to the poignancy of detachment, and through the "silver lips of a feverish child" invites connectivity by means of tenderness and brutality. Long pauses, enforced by strings of gemlike punctuation, allow for the reader's digestion of hilarious, frightened, sometimes frightening substance. One is compelled to follow trails of feminine intuition, savagery, ennui, fantasy, and intimacy to their diabolical, fruitful conclusions. Zirconia is accessible, confrontational, hilarious, occasionally shocking, never ever dull, and often extremely moving.
Zirconia ...................... Bad Bad
This poet's rapt, driven affect and glazed wit heralded a new strategy in the mitigation of female self-hatred in poetry.
Gurlesque
A new anthology of wicked, subversive young women poets
Hera Lindsay Bird
This impressive debut has established Hera Lindsay Bird as a good girl with many beneficial thoughts and feelings. With themes as varied as snow and tears, the poems in this collection shine with the fantastic cream of who she is, juxtaposing many classical and modern breezes. Bird turns her prescient eye on love and loss, and what emerges is like a helicopter in fog or a bejewelled Christmas sleigh, gliding triumphantly through the contemporary aesthetic desert. This is at once an intelligent and compelling fantasy of tenderness, heartbreaking and charged with trees without once sacrificing the forest.
The Crying Book
This bestselling "lyrical, moving book: part essay, part memoir, part surprising cultural study" is an examination of why we cry, how we cry, and what it means to cry from a woman on the cusp of motherhood confronting her own depression (The New York Times Book Review). Heather Christle has just lost a dear friend to suicide and now must reckon with her own depression and the birth of her first child. As she faces her grief and impending parenthood, she decides to research the act of crying: what it is and why people do it, even if they rarely talk about it. Along the way, she discovers an artist who designed a frozen–tear–shooting gun and a moth that feeds on the tears of other animals. She researches tear–collecting devices (lachrymatories) and explores the role white women’s tears play in racist violence. Honest, intelligent, rapturous, and surprising, Christle’s investigations look through a mosaic of science, history, and her own lived experience to find new ways of understanding life, loss, and mental illness. The Crying Book is a deeply personal tribute to the fascinating strangeness of tears and the unexpected resilience of joy.
Awater
Thomas Mohlmann is a poet who works for the The Dutch Foundation for Literature in Amsterdam. --
Motherland Fatherland Homelandsexuals
Free-wheeling and surreal yet deadly serious, and including the viral hit 'Rape Joke' ('An oblique mini-masterpiece' Guardian), this book shows one of our most original poets at her virtuosic best. 'Lockwood has written a book at once angrier, and more fun, more attuned to our times and more bizarre, than most poetry can ever get' STEPHEN BURT, THE NEW YORK TIMES BOOK REVIEW, BOOKS OF THE YEAR 'Lockwood should enter the canon forever . . . her lines left me crying on the subway' KAT STOEFFEL, THE CUT 'The little hairs on my back rose often while reading Motherland Fatherland Homelandsexuals . . . That's biological praise, the most fundamental kind, impossible to fake' DWIGHT GARNER, THE NEW YORK TIMES
