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Orlando
Simultaneously a scathing critique of consumer culture and a heartbreakingly manic narrative of obsession and reckoning.
Atopia
Atopia grapples with the political climate of the United States manifested through our everyday lives. Sandra Simonds charts the formations and deformations of the social and political through the observations of the poem's speakers, interspersed with the language of social media, news reports, political speech, and the dialogue of friends, children, strangers, and politicians. The Los Angeles Review of Books characterized Simonds's work as "robust, energetic, fanciful, even baroque" and "a necessary counterforce to the structures of gender, power, and labor that impinge upon contemporary life." These poems reflect on what it means to be human, what it means to build communities within a pol...
The Sonnets
On the 50th anniversary of Ted Berrigan's and the 25th anniversary of Bernadette Mayer's, Bloof Books is thrilled to publish THE SONNETS by Sandra Simonds. As Simonds has written, "There's no consensus on how to do it. Does it have to have a traditional rhyme scheme? Does it need to be written in iambic pentameter? Does it have to be about unrequited love? Does it even need to be fourteen lines? Ask twenty poets these questions, and you'll get two-hundred answers. And simply calling a sonnet a sonnet doesn't really make it a sonnet." THE SONNETS is this poet's exploration of the tradition, as well her testing of the (probably apocryphal) remark made by William Carlos Williams that it's a "fa...
A Sand Book
Longlisted for the National Book Award "Mind-blowing." —Kim Gordon DEADPAN, EPIC, AND SEARINGLY CHARISMATIC, A Sand Book chronicles climate change and climate grief, gun violence and bystanderism, state violence and complicity, mourning and ecstasy, sex and love, and the transcendent shock of prophecy, tracking new dimensions of consciousness for our strange and desperate times.
Steal it Back
Steal It Back takes on the powers that be, heralding the dawn of a revolution
Mother was a Tragic Girl
Poetry. "What does it mean to be a used white wife, a mother, a tragic girl writing poems? Sandra Simonds gets into these messy words and then tears them apart. Sometimes with the words of others. And sometimes with poems made from scratch. They aren't all bad, these words. But they aren't all good either. And that is where MOTHER WAS A TRAGIC GIRL gets its power. You will at moments be laughing but then you will also at moments just as much be crying. If Antigone was alive and decided to write some poems about the nuclear family, she would write them like Sandra Simonds. These are tough." Juliana Spahr "When I look out the window of my Winnebago I want to see a Sandra Simonds poem on the billboard before I crash. Bless her cranky pornboots." Cathy Wagner"
Memory
None
Reeling
“The deep relevance and the nuanced portrayal of the myriad effects of abuse on [the characters] lives are skillfully done. Layered and disquieting.” —Kirkus Reviews Award-winning author Lola Lafon continues her exploration of the psyches of young girls–their fragility, their resilience. Fontenay, a Parisian suburb, 1984. Cléo is twelve when her parents prod her into taking ballet classes. She drops out after a long year of feeling lost, not classy nor graceful enough, and undoubtedly not as rich as the other kids. By chance, she signs up for Modern Jazz class at a MJC–a state funded organization whose mission is to provide access to art and culture to all children. Modern Jazz is...
Warsaw Bikini
"In Sandra Simonds' poetry, a terrific, nihilistic dislike of herself and others (her heroine 'dires' men) vies with an extreme will to prevail in full color. The tension is sustained by an imagination of remarkable fertility and a rich and crowded verbal palette. Simonds writes to sting. She's like a Plath whose capacity for erotic altruism has thoroughly imploded, producing a crisis that only a brilliant talent could turn into a field of triumphantly exhibited power. Simonds has such a talent." --Cal Bedient
Cassandra Darke
***WINNER OF THE COMEDY WOMEN IN PRINT PRIZE 2020*** 'Simmonds is a copper-bottomed genius... she is as brilliant a writer as Britain has' Jenny Colgan, Mail Online Cassandra Darke is an art dealer, mean, selfish, solitary by nature, living in Chelsea in a house worth £7 million. She has become a social pariah, but doesn't much care. Between one Christmas and the next, she has sullied the reputation of a West End gallery and has acquired a conviction for fraud, a suspended sentence and a bank balance drained by lawsuits. On the scale of villainy, fraud seems to Cassandra a rather paltry offence - her own crime involving 'no violence, no weapon, no dead body'. But in Cassandra's basement, her young ex-lodger, Nicki, has left a surprise, something which implies at least violence and probably a body . . . Something which forces Cassandra out of her rich enclave and onto the streets. Not those local streets paved with gold and lit with festive glitter, but grimmer, darker places, where she must make the choice between self-sacrifice and running for her life.
