island weather Chelsea Tadeyeske
(pitymilk press, 2023)
Observational Anti-aphorisms
BY Review by Peter Burzynski
In the same way that Tadeusz Różewicz is “the father of modern anti-poetry” Chelsea Tadeyeske is the progenitor of a type of anti-aphoristic aphorisms that are at first glance random stoned thoughts ala Mitch Hedburg’s comedy, but ultimately are deep, cutting, and brilliant interconnected jibes that paralyze and, paradoxically, entice. The false randomness of these observational lines is a hallmark of her poetry, which now spans the breadth of seven thematically and stylistically vibrant, unique chapbooks. Tadeyeske also has a handful of coauthored chapbooks to her name. Many of these chapbooks are still in print; links can be found at the author’s website. Tadeyeske’s poetry is simultaneously an urgent ecopoetic treatment of so many crises, but also a dismantling of the boundaries between sacred and profane in a neo-baroque gesture of queer femme sexuality that is neither vulgar nor pornographic, but matter-of-fact, yet still vulnerable. In short, these are really good poems—poems that are easy to grasp on a surface level, but also fascinatingly rich; almost pensive; and overall, strikingly arresting underneath the deceptively quotidian wit of her observations and obsessions.
Ostensibly mundane investigations like those found in “I’M SORRY BUT” exemplify the ways in which the imagination of these poems captivates the reader:
a bunch of dull lives
aren’t suddenly interesting
just because they’re next
to one another
somehow you’ll know me better
once you realize i was born
on a tuesday
why am i always
the bug in the pool
Burzyński / Chapbook Review / August 24, 2023
sometimes in order to come
i reference the feeling one gets
while watching photos develop
i want to shove these clouds
down the hole that runs through me
instead—bandaids
it’s so american of me
i keep thinking the birds
are blowing pieces of trash
Tadeyeske explores the incidental thoughts and places them “next/ to one another” in a way that is anything but arbitrary or incidental. She begins by noting a general thought and then quickly shifts to a lyrical I. This poem does indeed do a bit of navel gazing, but somehow also feels conversational and familiar—a gregarious host of spare thoughts that are compelling, imperative, and critical. None of this is superfluous—every syllable is crucial to convey the melancholy and joy that coexist in some U.S. poetries and many Eastern European ones.
“I’M SORRY BUT” also contains the frequent theme of a liberated, unabashed openness to sexual experiences that live in the space between “always just enough” and “never too much.” These moments are not jarring, but highly relatable. Other poems in this luminous collection recall memories of firsts in sexual experiences and some traumas: positive, negative, and neutral. Despite the sometimes radically different forms Tadeyeske’s chapbooks take on with boldness and charismatic; cordial accessibility; and approachable charm, this theme is strewn across her elegant oeuvre.
This poem also captures one of the poet’s most crucial anxieties—climate change and environmental collapse as a consistent constant: unacceptable, protracted, and lingering. There are some moments of resignation, but never apathy. The chronic health issues of our planet materialize occasionally and often leave the reader feeling hollow and helpless. This is the significant manner in
Burzyński / Chapbook Review / August 24, 2023
which these poems critique how crucial and obsurd the self-imposed disaster of humanity is. The speaker of these poems is themself deceived by the terrible illusion of pulchritude in the struggling, ravaged state of our natural world. The turn here that is so stunning and shattering is the hopefulness that hides behind these tragic semblances.
A similar wistful grimness emerges in a slightly more masochistic way in “I AM ALIVE AS LONG AS / SAD THOUGHTS EXCITE ME”:
despite my best efforts
i can’t tell the difference
between friendship and love
most of the time my orgasms
are very bright and alone
whenever i daydream about strangers
i wonder what the weather was like
the day they were born
if they saw a floor first
or a ceiling or a wall
or a face
Beyond analogous themes this poem also exhibits the poet’s succinct and adroit artful use of line breaks and enjambment. I once took a class on a poetry fellowship at The Lighthouse Literary Festival in Denver with Ed Hirsch where the motif of our workshop’s constructive criticism became essentially a profound examination of whether or not we read the poems as we break them. The former is always the case with this writer’s workthere are no misplaced rhythms or beats to be found. The deft poignancy of her poetry is further exemplified by how she performs it. If you have never seen this poet read, please do. Reels of her executing the day-dreamt rust of these poems can be found on Instagram on Tadeyeske’s incredible small chapbook press, pitymilk press (you can also find many other performances by other small miracles of poets there). The sometimes pejorative and patronizing distinctions between “poetry for the page” and “poetry for the stage” are fractured
Burzyński / Chapbook Review / August 24, 2023
and dissolved. The tragedy and terror of immutable of radiant gratification comes across with such profundity as Tadeyeske unspools these grave benedictions of bliss.
These poems do more than entertain, evoke emotion, and illicit charm—they also enchant while politely demanding that the reader pay attention to the anxieties of a world actively crumbling and burning around us. There are also brief moments of the helpless, yet hopeful anti-capitalism that most of us endure by dint of having no other choice but to engage in the cruel economies of our daily lives. This is a theme much more prevalent in Tadeyeske’s equally brilliant and enigmatic pity milk press partner Edie Roberts, but still an important piece of the tiny breathtaking puzzles Tadeyeske spins into poems. Furthermore, every one of the poems in Island Weather is necessary. Succinct and meaningful, it is difficult to find an extraneous word or image. Each of these carefully wrought and honed poems wreck the reader to their core in the best possible way.
Tadeyeske’s writing is at once sincere and breathtaking, improbably polite and inaggressively devastating, couth yet plain-spoken. One can be taken aback by the random wisdoms that pop up without frills or adornment but is also comforted by the shear unbridled beauty of these words. These paradoxes unsettle but are never there for cheap shock alone. Her poems are highly intentional and breathtaking. Neither author nor reader can escape the melancholic beauty of this work. Read these poems. Support small presses. If not today, then later today—read these poems.
BY Review by Peter Burzynski
In the same way that Tadeusz Różewicz is “the father of modern anti-poetry” Chelsea Tadeyeske is the progenitor of a type of anti-aphoristic aphorisms that are at first glance random stoned thoughts ala Mitch Hedburg’s comedy, but ultimately are deep, cutting, and brilliant interconnected jibes that paralyze and, paradoxically, entice. The false randomness of these observational lines is a hallmark of her poetry, which now spans the breadth of seven thematically and stylistically vibrant, unique chapbooks. Tadeyeske also has a handful of coauthored chapbooks to her name. Many of these chapbooks are still in print; links can be found at the author’s website. Tadeyeske’s poetry is simultaneously an urgent ecopoetic treatment of so many crises, but also a dismantling of the boundaries between sacred and profane in a neo-baroque gesture of queer femme sexuality that is neither vulgar nor pornographic, but matter-of-fact, yet still vulnerable. In short, these are really good poems—poems that are easy to grasp on a surface level, but also fascinatingly rich; almost pensive; and overall, strikingly arresting underneath the deceptively quotidian wit of her observations and obsessions.
Ostensibly mundane investigations like those found in “I’M SORRY BUT” exemplify the ways in which the imagination of these poems captivates the reader:
a bunch of dull lives
aren’t suddenly interesting
just because they’re next
to one another
somehow you’ll know me better
once you realize i was born
on a tuesday
why am i always
the bug in the pool
Burzyński / Chapbook Review / August 24, 2023
sometimes in order to come
i reference the feeling one gets
while watching photos develop
i want to shove these clouds
down the hole that runs through me
instead—bandaids
it’s so american of me
i keep thinking the birds
are blowing pieces of trash
Tadeyeske explores the incidental thoughts and places them “next/ to one another” in a way that is anything but arbitrary or incidental. She begins by noting a general thought and then quickly shifts to a lyrical I. This poem does indeed do a bit of navel gazing, but somehow also feels conversational and familiar—a gregarious host of spare thoughts that are compelling, imperative, and critical. None of this is superfluous—every syllable is crucial to convey the melancholy and joy that coexist in some U.S. poetries and many Eastern European ones.
“I’M SORRY BUT” also contains the frequent theme of a liberated, unabashed openness to sexual experiences that live in the space between “always just enough” and “never too much.” These moments are not jarring, but highly relatable. Other poems in this luminous collection recall memories of firsts in sexual experiences and some traumas: positive, negative, and neutral. Despite the sometimes radically different forms Tadeyeske’s chapbooks take on with boldness and charismatic; cordial accessibility; and approachable charm, this theme is strewn across her elegant oeuvre.
This poem also captures one of the poet’s most crucial anxieties—climate change and environmental collapse as a consistent constant: unacceptable, protracted, and lingering. There are some moments of resignation, but never apathy. The chronic health issues of our planet materialize occasionally and often leave the reader feeling hollow and helpless. This is the significant manner in
Burzyński / Chapbook Review / August 24, 2023
which these poems critique how crucial and obsurd the self-imposed disaster of humanity is. The speaker of these poems is themself deceived by the terrible illusion of pulchritude in the struggling, ravaged state of our natural world. The turn here that is so stunning and shattering is the hopefulness that hides behind these tragic semblances.
A similar wistful grimness emerges in a slightly more masochistic way in “I AM ALIVE AS LONG AS / SAD THOUGHTS EXCITE ME”:
despite my best efforts
i can’t tell the difference
between friendship and love
most of the time my orgasms
are very bright and alone
whenever i daydream about strangers
i wonder what the weather was like
the day they were born
if they saw a floor first
or a ceiling or a wall
or a face
Beyond analogous themes this poem also exhibits the poet’s succinct and adroit artful use of line breaks and enjambment. I once took a class on a poetry fellowship at The Lighthouse Literary Festival in Denver with Ed Hirsch where the motif of our workshop’s constructive criticism became essentially a profound examination of whether or not we read the poems as we break them. The former is always the case with this writer’s workthere are no misplaced rhythms or beats to be found. The deft poignancy of her poetry is further exemplified by how she performs it. If you have never seen this poet read, please do. Reels of her executing the day-dreamt rust of these poems can be found on Instagram on Tadeyeske’s incredible small chapbook press, pitymilk press (you can also find many other performances by other small miracles of poets there). The sometimes pejorative and patronizing distinctions between “poetry for the page” and “poetry for the stage” are fractured
Burzyński / Chapbook Review / August 24, 2023
and dissolved. The tragedy and terror of immutable of radiant gratification comes across with such profundity as Tadeyeske unspools these grave benedictions of bliss.
These poems do more than entertain, evoke emotion, and illicit charm—they also enchant while politely demanding that the reader pay attention to the anxieties of a world actively crumbling and burning around us. There are also brief moments of the helpless, yet hopeful anti-capitalism that most of us endure by dint of having no other choice but to engage in the cruel economies of our daily lives. This is a theme much more prevalent in Tadeyeske’s equally brilliant and enigmatic pity milk press partner Edie Roberts, but still an important piece of the tiny breathtaking puzzles Tadeyeske spins into poems. Furthermore, every one of the poems in Island Weather is necessary. Succinct and meaningful, it is difficult to find an extraneous word or image. Each of these carefully wrought and honed poems wreck the reader to their core in the best possible way.
Tadeyeske’s writing is at once sincere and breathtaking, improbably polite and inaggressively devastating, couth yet plain-spoken. One can be taken aback by the random wisdoms that pop up without frills or adornment but is also comforted by the shear unbridled beauty of these words. These paradoxes unsettle but are never there for cheap shock alone. Her poems are highly intentional and breathtaking. Neither author nor reader can escape the melancholic beauty of this work. Read these poems. Support small presses. If not today, then later today—read these poems.
I had a feeling that I was bending my mind into 1920's Portugal, where my grandfather is from. The poems felt intimate, like I was reading an old friends journal entries. Written from a time when lots of people kept diaries, he talks about his pain of feeling normal and how he wants to be mad, wild, longing to be in asylum. I relate to this urge to want to break free from the mundane.
The intimacy is very urgent, and demands to be seen. I wrote this:
"Writing that brings the mind into a different time. An urgent kind of intimacy. A mad man who wants freedom from the asylum, or a sane man tempted to go mad for lack of any better outlet?"
- \Mannequin Haus
The Complete Works of Álvaro de Campos
From New directions Publishing
Poetry by Fernando Pessoa
Translated from the Portuguese by Margaret Jull CostaPatricio Ferrari
Edited by Jerónimo PizarroAntonio Cardiello
Cover design by Peter Mendelsund
Álvaro de Campos is one of the most influential heteronyms created by Portugal’s great modernist writer Fernando Pessoa. According to Pessoa, Campos was born in Tavira (Algarve) in 1890 and studied mechanical engineering in Glasgow, although he never managed to complete his degree. In his own day, Campos was celebrated—and slandered—for his vociferous poetry imbued with a Whitman-inspired free verse, his praise of the rise of technology, and his polemical views that appeared in manifestos, interviews, and essays. Here in Margaret Jull Costa and Patricio Ferrari’s translations are the complete poems of Campos. This edition is based on the Portuguese Tinta-da-china edition and includes an illuminating introduction about Campos by the Portuguese editors Jerónimo Pizarro and Antonio Cardiello, facsimiles of original manuscripts, and a generous selection of Campos’s prose texts.
Buy from:
Your Independent Bookstore Barnes & Noble Amazon
The intimacy is very urgent, and demands to be seen. I wrote this:
"Writing that brings the mind into a different time. An urgent kind of intimacy. A mad man who wants freedom from the asylum, or a sane man tempted to go mad for lack of any better outlet?"
- \Mannequin Haus
The Complete Works of Álvaro de Campos
From New directions Publishing
Poetry by Fernando Pessoa
Translated from the Portuguese by Margaret Jull CostaPatricio Ferrari
Edited by Jerónimo PizarroAntonio Cardiello
Cover design by Peter Mendelsund
Álvaro de Campos is one of the most influential heteronyms created by Portugal’s great modernist writer Fernando Pessoa. According to Pessoa, Campos was born in Tavira (Algarve) in 1890 and studied mechanical engineering in Glasgow, although he never managed to complete his degree. In his own day, Campos was celebrated—and slandered—for his vociferous poetry imbued with a Whitman-inspired free verse, his praise of the rise of technology, and his polemical views that appeared in manifestos, interviews, and essays. Here in Margaret Jull Costa and Patricio Ferrari’s translations are the complete poems of Campos. This edition is based on the Portuguese Tinta-da-china edition and includes an illuminating introduction about Campos by the Portuguese editors Jerónimo Pizarro and Antonio Cardiello, facsimiles of original manuscripts, and a generous selection of Campos’s prose texts.
Buy from:
Your Independent Bookstore Barnes & Noble Amazon
"Kim Hyesoon contains buried emotion behind each word, phrase, poem. Her words contain a layered riddle in them, something deep below the surface emerges at timed motions through out the stanzas. The devastation is clear, and at the same time distant and vague, ever ready to strike from out of nowhere, hidden inside the lines.
These poems talk of a grey area in grief, that submerges one in the whimsical darkness that is loss, (the absence of something, someone.)
Poems that you can sing as a sea shanty, rhythm leads the mind into a trap of a kind, wavering like heat waves in an oasis. "
- (Mannequin Haus)
Phantom Pain Wings
Poetry by Kim Hyesoon
From New Directions Publishing
Translated from the Korean by Don Mee Choi
Cover design by Erik Carter
This book is about the realization of / I-thought-bird-was-part-of-me-but-Iwas-part-of-bird sequence / It’s a delayed record of such a sequence.
An iconic figure in the emergence of feminist poetry in South Korea and now internationally renowned, Kim Hyesoon pushes the poetic envelope into the farthest reaches of the lyric universe. In her new collection, Kim depicts the memory of war trauma and the collective grief of parting through what she calls an “I-do-bird-sequence,” where “Bird-human is the ‘I.’” Her remarkable essay “Bird Rider” explains: “I came to write Phantom Pain Wings after Daddy passed away. I called out for birds endlessly. I wanted to become a translator of bird language. Bird language that flies to places I’ve never been.” What unfolds is an epic sequence of bird ventriloquy exploring the relentless physical and existential struggles against power and gendered violence in “the eternal void of grief” (Victoria Chang, The New York Times Magazine). Through intensely rhythmic lines marked by visual puns and words that crash together and then fly away as one, Kim mixes traditional folklore and mythology with contemporary psychodramatic realities as she taps into a cremation ceremony, the legacies of Rimbaud and Yi Sang, a film by Agnès Varda, Francis Bacon’s portrait of Pope Innocent X, cyclones, a princess trapped in a hospital, and more. A simultaneity of voices and identities rises and falls, existing and exiting on their delayed wings of pain.
Buy from:
Your Independent Bookstore Barnes & Noble Amazon
These poems talk of a grey area in grief, that submerges one in the whimsical darkness that is loss, (the absence of something, someone.)
Poems that you can sing as a sea shanty, rhythm leads the mind into a trap of a kind, wavering like heat waves in an oasis. "
- (Mannequin Haus)
Phantom Pain Wings
Poetry by Kim Hyesoon
From New Directions Publishing
Translated from the Korean by Don Mee Choi
Cover design by Erik Carter
This book is about the realization of / I-thought-bird-was-part-of-me-but-Iwas-part-of-bird sequence / It’s a delayed record of such a sequence.
An iconic figure in the emergence of feminist poetry in South Korea and now internationally renowned, Kim Hyesoon pushes the poetic envelope into the farthest reaches of the lyric universe. In her new collection, Kim depicts the memory of war trauma and the collective grief of parting through what she calls an “I-do-bird-sequence,” where “Bird-human is the ‘I.’” Her remarkable essay “Bird Rider” explains: “I came to write Phantom Pain Wings after Daddy passed away. I called out for birds endlessly. I wanted to become a translator of bird language. Bird language that flies to places I’ve never been.” What unfolds is an epic sequence of bird ventriloquy exploring the relentless physical and existential struggles against power and gendered violence in “the eternal void of grief” (Victoria Chang, The New York Times Magazine). Through intensely rhythmic lines marked by visual puns and words that crash together and then fly away as one, Kim mixes traditional folklore and mythology with contemporary psychodramatic realities as she taps into a cremation ceremony, the legacies of Rimbaud and Yi Sang, a film by Agnès Varda, Francis Bacon’s portrait of Pope Innocent X, cyclones, a princess trapped in a hospital, and more. A simultaneity of voices and identities rises and falls, existing and exiting on their delayed wings of pain.
Buy from:
Your Independent Bookstore Barnes & Noble Amazon
I love this book because it is everything I am looking for (personally) in a book: hundreds of -interesting, detailed- images along side weird, and cryptic type poetry that isn't all of the way modernist, or experimental per se.
I wrote this about this book:
"Kevin Sampsell's poems are exciting! His use of psychedelic 50's imagery in full color are something one might want to collect, his wonderful collages (You just want a whole poster to hang on the bedroom wall) and the well-sculpted, and refined poems of a subtle and strange nature at a comfortable 200 pages is a delight to the eye, and food for the creative mind. Kevin is a real poet - his words and images pull up sensations of the past, present, and future to come- with an honest introduction, a sincere one. His new book is always fun to look at, ponder, and is inspiring!"
- Mannequin Haus
Kevin Sampsell - I Made an Accident
CLASH BOOKS
$24.95
I Made an Accident showcases over 200 of Sampsell's collages, exploring a range of styles: hilarious sight gags, subtle cultural jabs, elegant mysteries, colorful surprises, fragmented hauntings, and gloriously strange accidents.
Combined with Sampsell's sharp and lively poems, this book is a feast for the eyes and brain and a nonstop entertainment.
In 2014, after the release of his debut novel, celebrated writer and visionary publisher Kevin Sampsell switched gears and turned to a new creative obsession: making collage art. Initially influenced by the wild cutup language of William S. Burroughs, Sampsell soon discovered countless modern collagists that inspired him to take his art further and further from where it started. Years later, he finds himself at the center of a growing movement of 21st Century cut and paste.
"It's a Full Frontal." -Fin Sorrel Mannequin Haus Eugenio Volpe - I, Caravaggio (preorder) $19.95The famous bi-sexual libertine who would be more at home on Tinder than at a Roman Cathedral, gallivants through the streets like brush strokes to become a Baroque 16th century icon.The year is 1604 and Michelangelo Merisi da Caravaggio is a superstar, his blockbuster paintings packing the pews of Rome. Caravaggio should be reveling in prosperity, but the artistic trailblazer and nefarious street-brawler is his own worst enemy. While the genius paints masterpieces, the ruffian in him can’t stay out of jail. Caravaggio is a man at existential odds with himself until falling in love with Lena Antognetti, the prostitute modeling his newest Virgin pictures. Caravaggio paints Lena into a life of wealth and celebrity, but the power couple’s provocative fame earns them a horde of resentful and jealous enemies. I, Caravaggio dramatizes the superstar’s psychological unraveling under the sexual and political pressures of the Catholic Reformation. HYPE“Volpe's outrageously inventive novel recreates Caravaggio and early modern Rome with a post-modern spin, all the while asking shockwave questions: Who is art really for, the masses or ourselves? Are we our own Gods? Whiplash smart, this novel did what the best books do: it changed the way I see not just Caravaggio, but the world.” —Caroline Leavitt, New York Times bestselling author of Pictures of You and With or Without You “What a talent Eugenio Volpe is! One of the freshest new voices around, I always look forward to reading his work!” —Ann Hood, best-selling author of The Obituary Writer and The Red Thread BIOEugenio Volpe is the author of the forthcoming novel I, Caravaggio (CLASH Books 2023). His essay “Jesus Kicks His Oedipus Complex” was listed as notable in Best American Essays 2021. His stories have appeared in The Massachusetts Review, Salamander, New York Tyrant, VICE, Post Road, The Nervous Breakdown, BULL, and dozens of other journals. He is a former winner of the PEN Discovery Award for Fiction. He has also been nominated for Pushcart and Best of the Net prizes. He has appeared in the Boston Globe for his writing. He is a professor of rhetoric at Loyola Marymount University in Los Angeles. OFFICIAL RELEASE 7/25/2023ISBN: 9781955904759 CLASH BOOKS WEBPAGE |
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I don't know how many times I have gotten into heated discussions about this topic, usually fueled by a sense of the past. (We never thought it would get this dull,) I love the way that Felicity discusses these topics (that I, and others can relate to) in a matter of fact way, she remains composed, and eloquent through out her essay, so I wrote this:
"An Important look into the degenerating society with live in, Felicity Fenton has tapped the main nerve in her essay User Not Found, From Future Tense Books. In the calmest voice one could muster on this issue, she delves into the personal conflict and the over arching power of social media use, abuse, and addiction. Looking into a not so long ago past when love, life, happiness, art, cooking, and childhood weren't measured by the number of likes you have on your social media page." - Mannequin Haus User Not Found byFelicity Fenton (Scout Book Series) From FUTURE TENSE BOOKS $6.00 Description “Maybe it’s time to unleash my head from the scroll.” Prompted by a sequence of discouraging internet encounters, Felicity Fenton attempts to free herself from the tendrils of an online world we know, but struggle to look away from. She evaluates the endless distractions of being tethered to her device and all that comes with it: email, spam, texting, taking pictures, and social media (aka “the walls”). In lyrical prose that swerves into dream-like mirage, hilarious thoughts, social observations, and unwavering sadness, User Not Found is a powerful essay that is all too relatable. 32 pages, chapbook, Scout Book series, ISBN 978-1-892061-85-0 (available to bookstores through SPD) Released December 6th, 2018 (First printing–purple and red cover–is sold out. 2nd printing–black and white–now available) ALSO AVAILABLE AS AN EBOOK! Felicity Fenton’s multidisciplinary work (social practice, photography, installation) has been featured in public and private spaces around the globe. Most recently, her stories and essays have been featured in WOBBY, Fanzine, Split Lip Press, Wigleaf, The Flexible Persona, and forthcoming in Iowa Review. By day she works as a Creative Director, as well as a Radio Host at Freeform Portland. She calls Portland, Oregon home sweet home. Portland Mercury review Profile and interview at Oregon Visual Arts KBOO radio interview |
I wrote this about this lovely little chapbook:
"A deep, graphic look with a microscope into the physical story of a woman's reproductive body in connection with her soul and thoughts on the matter. One woman's gaze slices through the weak veil of public opinion. Foreign Body is a revealing insight on the plight of being human, female in a world we are told to pretend we're not. Katie Gene Friedman delves deep into the gynecological - illogical system that is there to (supposedly) protect women's health- She's got a bone to pick." -Mannequin Haus Foreign Body by Katie Gene Friedman (Scout Book Series) FROM FUTURE TENSE BOOKS $7.00 Description“So long as my vag works, I can pass for normal, I’d thought. I could be normal, more or less, since a woman’s body is her net worth. If my uterus contains a pre-human, I’m not dead yet, was my new rationale.” In her essay Foreign Body, Katie Gene Friedman takes the reader on an odyssey of gynecological misadventures, exploring what a sexual and reproductive future looks like for her retrofitted body, as she navigates the absurdities of gender roles, religion, and the healthcare system. Katie Gene Friedman is a queer, invisibly disabled high school dropout working in sexual and reproductive health. Her words have appeared in Peach Mag, Maudlin House, Expat Press, Queen Mob’s Tea House, and elsewhere. You can find her on Twitter @ValleyGirlLift. 32 pages, Chapbook, Scout Book Series, ISBN 978-1-892061-942 Cover designed by the author. Illustration by Andréa Grasso. Released on December 16th, 2022 (Print run: 750 copies). The book will also be available to stores through Small Press Distribution and Antiquated Future. E-Book coming in early 2023. |