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Latest Playlist

Hot with the Bad Things

Hot with the Bad Things is a reflective look on intimate partner violence, particularly as it is committed and is proliferated on college campuses. When writing, I was interested in investigating what happens beyond retelling, and how one moves through violence both past and present. I was interested too in how to approach the unsayable when it comes to a violence that is individual and pervasive. The book is a lyric sequence of untitled prose poems, and I assembled this playlist mostly from a section that begins with an epigraph from Louise Bourgeois: “It’s not possible to function, to learn, to connect, to make progress or even to hear in a climate of fear. Fear can be spotted like gold in the ground. Dig them out, and make them help you. Fears make the world go round.” In addition to selections from that section, I’ve included poems that I feel meditate on this estimation of fear as well.

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Featured on October 19, 2020

Knot Body

Bringing together poetry, essay, and letters to "lovers, friends and in-betweens," Eli Tareq El Bechelany-Lynch confronts the ways capitalism, fatphobia, ableism, transness, and racializations affect people with chronic pain, illness, and disability. knot body explores what it means to discover the limits of your body, and contends with what those limitations bring up in the world we live in.

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Featured on October 13, 2020

Unsolved Mysteries

These poems are excerpted from Unsolved Mysteries (just released from Roof Books this October [https://www.spdbooks.org/Products/9781931824897/unsolved-mysteries.aspx]), a book of poems about the 1980s procedural melodrama and also other mysteries: emotional intimacy, sexuality, what happens when you die, and how to change the cruel trajectory of history.

"Unsolved Mysteries insists on the inadequacy of simply wanting what we want, how indispensable to want it insatiably anyways." --Kay Gabriel

 

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Featured on October 5, 2020

Death Industrial Complex

Candice Wuehle’s Death Industrial Complex is a meditation on the cultural obsession with the bodies of dead women and an occult invocation of the artist Francesca Woodman. Like Woodman’s photographs with their long exposures and blurred lenses, this book is haunted and haunting, hazy yet devastatingly precise. These are poems as possessions, gothic ekphrases, dialogues with the dead, biography and anti-biography, a stunning act of “cryptobeauty.”

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