2020 Digital Chapbook Series
THE WOMAN FACTORY
Explore the digital / interactive extension of The Woman Factory
Support this Community Member Directly: via PayPal felicity.h.cockayne(at)gmail.com! Follow Ava Hofmann on Instagram and Twitter @st_somatic. Website: www.nothnx.com
Read “CAPTCHA / consciousness :: an OS [re:con]versation with Ava Hofmann“
Project Description: THE WOMAN FACTORY is an interactive digital chapbook about artificial intelligence, gender, and our current bioindustrial mode of production. Written from the perspective of a fembot in a far flung, THE WOMAN FACTORY explores how such a category presents complicated indwellings of pleasure and pain, examining the ways in which identities and modalities of being (such as queerness and transness) can be tied to globe-spanning processes of mass harm and destruction. In this space, it asks these essential questions: how can we rework our material conditions upon which we rely? And how must we respond when we are still yet engulfed by those conditions? The interactive elements of this chapbook implicate you directly in this process of complicity / self-distinguishing, weaponizing the line between author and reader.
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Originally from Oxford, Ohio, Ava Hofmann is a trans writer currently living and working in Baton Rouge, Louisiana. She has poems published in or forthcoming from Black Warrior Review, Hayden’s Ferry Review, Fence, Anomaly, Best American Experimental Writing 2020, The Fanzine, Datableed, Peachmag, and Always Crashing. Her work deals with transness/queerness, Marxism, and the physicality of language.
KIND HAVEN
Support this Community Member Directly: coming soon! Follow Jacob Kobina Ayiah Mensah on Twitter @byiypublisher.
Read “Between the Tragic and the Ridiculous: An OS [re:con}versation with Jacob Kobina Ayiah Mensah“.
Project Description:The project combines raw realism, with fantasy, surrealism, primitiveness, abstraction and grotesque narrative situations. It deals primarily with the absence of home, the passage of time, inward states of solitude, silence, secrecy, individual memory, and close observation of everyday places and things.
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Jacob Kobina Ayiah Mensah, who is an algebraist and artist, works in mixed media. He is the author of more than 200 books of poetry, songs, prose, plays, art and hybrid, including his recent hybrid works, The Sun of a Torus, Conductor 5, Genus for L Loci and Handlebody. He lives in the southern part of Ghana, in Spain, and the Turtle Mountains, North Dakota.
WITCH LIKE ME
Support this Community Member Directly: via PayPal, readpoetryandlabels(at)gmail.com.
Read “Cocteau Mercury Glove State: An OS [re:con]versation with Sunnylyn Thibodeaux”
Project Description:
Being a cataloger, as often poets are, capturing various current states, all the while being “current” as a state of one’s body, my poetry has always worked through the inner and outer in this sense — some time-warp juncture of indexing and reflecting simultaneously. The poems in Witch Like Me delve into the power that comes from within and mortality as some inevitable shift in relations with the world. There are challenges present. And existential stirrings. We can only deliver that which comes through us, how the poem does. And “through us” gives us over to a knowledge sometimes concrete, sometimes as metaphor. We, as earth beings, we, as spiritual, navigate these complexities for understandings. As a mother, these poems have come to be a mapping for my daughter. As a victim, these poems have come to be healing. After some health mishaps writing unfolded through a wrestling with the state of the world in its ability to nurture, as well as be nurtured. The poems lean toward reflections on the experience of an altered perception of the “whole” and that of time. We listen. We take heed. We corral. And offer the poems back to the universe from which they originated.
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Sunnylyn Thibodeaux is a teacher, neighborhood activist and poet. She is the author of The World Exactly (forthcoming Cuneiform), Universal Fall Precautions (Spuyten Duyvil, 2017), As Water Sounds (Bootstrap Press, 2014) and Palm to Pine (2011), as well as over a dozen small books including 88 Haiku, Against What Light, Room Service Calls, and What’s Going On. Originally from New Orleans, she lives and writes in San Francisco and co-edits Auguste Press and Lew Gallery Editions.
LICHEN LAND
Support this Community Member Directly: Via PayPal jpascutazz(at)gmail.com. Follow J Pascutazz on Twitter @jpascutazz
Read “Poetry is Protest / la la Timbre : An OS [re:con]versation with J. Pascutazz”
Project Description:
The poems of LICHEN LAND are a fierce incantation dispelling the illusion that humans exist apart from the forces of the natural world. “I’m an ancestral whirlwind. You’re a population…” begins the title poem, in which the author takes on the role of the hurricane-as-spurned-lover breaking up with America. “Mother of All Water” is a coming-out poem that dives through the limited concept of gender into the depths of the original elemental nature of the self. “Wildfire Poetry” tells the story of California’s deadly “Camp Fire” from the perspective of heroes, victims, and ultimately the fire itself — speaking in “the ravishing tongue of the flames” — melding all perspectives into one longing to consume the object of desire. And, in the long title poem, lost in the grip of Lichen Fever, the poet geeks-out heavily on the nomenclature, folklore, and mythology of Lichen — manifesting in wods the magic of a multi-species organism cooperating to create a functional whole as a metaphor for a possible human future.
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J Pascutazz is a non-binary writer with Asperger’s. Raised in rural Ohio. Graduate of Bennington College. Published by Miracle Monocle, Cleaver, FRIGG — and others. J teaches Tai Chi Chuan and Chi Gong in Brooklyn.
RECALL
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Explore more of Lee Gough’s work at her website: leegough.net.
Read “The Precipice of Doing-Bodies: An OS [re:con]versation with Lee Gough”
Project Description:
RECALL was a project I wrote off and on over a long time. It is my attempt to center in on ecological and economic collapse where they meet in crisis as opportunity and loss. I wonder what the entropic logic of the capitalism is doing to our ability to remember one another as a communal body, as if we could recall the failures of this world we’ve produced. I wonder in what possible time(s) we will realize and recall our destabilized experience with this ecology.
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Lee Gough is a visual artist. activist and poet. Her visual work is in collections around the United States and has been shown in India, Australia and Belgium and supported by the Puffin Foundation, and the Frans Masereel Centrum in Flanders (Antwerp). She is also the author of another chapbook, Future Occupations (Little Red Leaves Textile Editions, 2012). She lives in Brooklyn, NY.
ENTER THE NAVEL: FOR THE LOVE OF CREATIVE NONFICTION
Purchase: coming soon!
Support this Community Member Directly: Via Venmo @Anjoli-Roy. Follow Anjali Roy on Instagram @itslitwithphdj. Website: anjoliroy.com
Read “Agile Histories of Home,” an OS [re:con]versation with Anjoli Roy
Project Description:
This playful abecedarian offers a new perspective on the term “navel-gazer” by looking both figuratively and literally at the navel. Inside, readers will find antiquated and current dictionary definitions of “navel” woven in with scientific information on the curious state of lint and bacteria located there, including what humans have been known, disgustingly, to do with them (hello, navel cheese!). Also in appearance are Hawaiian and Hindu origin stories rooted in the navel that connect us, with urgency, to the divine; the role of the navel, our first wound, in and after human birth; a story of the author’s own regrettable 90s-era teenage navel piercing along with the plastic surgery that removed her mother’s navel, and more.
Styled as a self-referencing cabinet of curiosities, this chapbook is also a Rorschach for the genre of creative nonfiction, many of whose stalwart writers have been written off as “navel-gazers.” This text demands the reader be swayed to see what, in fact, is so good about looking at one’s own navel after all.
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Anjoli Roy is a creative writer and high school English teacher in Honolulu. With a PhD in English from the University of Hawai‘i at Mānoa, she is a VONA fellow and a Pushcart and Best of the Net nominee. Her creative nonfiction stories have won the COG Page-to-Screen Award, been first runner-up for StoryQuarterly’s Fourth Annual Nonfiction Prize, and been third-place winner of the Ian MacMillan Writing Awards for Creative Nonfiction. She has published with The Asian American Literary Review, Entropy, Hippocampus, Kweli, Longreads, River Teeth, Spiral Orb, and others. Anjoli is also PhDJ for “It’s Lit,” a literature and music podcast that she cohosts with Jocelyn Kapumealani Ng and has featured more than 100 writers to date. Anjoli is from Pasadena, California. She is a mashi to eight, a godmother to one, and the last of her parents’ three girls. She loves cats, surfing with loved ones or alone, and the rain that she and her partner oftentimes wake up to in Pālolo Valley.
2019 Chapbooks
RE:VERSES
Support this Community Member Directly: Via Venmo: @chris-campanioni. Follow Chris Campanioni on Twitter @chriscampanioni
Read “Postmark and Possibility: A Conversation with Chris Campanioni & Kristina Marie Darling”
Project Description:
What I want is the intimacy of anonymous encounters within the text itself, and yet to be effaced and revealed, even and especially by my own authorial departure. And it would take the form of a repetition or a reversal; a re: verse in which we correspond lyrically; a re: verse in which our correspondence becomes the poem.
Of course, an integral part of any correspondence is the space between things, those slender apertures lit up with waiting. It is in these liminal spaces that possibility accumulates. We write toward this space, in response to its silences.
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Kristina Marie Darling is the author of thirty books, including Look to Your Left: The Poetics of Spectacle (University of Akron Press, 2020); Re: VERSES (with Chris Campanioni; The Operating System, 2019); Je Suis L’Autre: Essays & Interrogations (C&R Press, 2017), which was named one of the “Best Books of 2017” by The Brooklyn Rail; and DARK HORSE: Poems (C&R Press, 2018), which received a starred review in Publishers Weekly. Her work has been recognized with three residencies at Yaddo, where she has held both the Martha Walsh Pulver Residency for a Poet and the Howard Moss Residency in Poetry; a Fundación Valparaíso fellowship; a Hawthornden Castle Fellowship, funded by the Heinz Foundation; an artist-in-residence position at Cité Internationale des Arts in Paris; three residencies at the American Academy in Rome; two grants from the Whiting Foundation; a Morris Fellowship in the Arts; and the Dan Liberthson Prize from the Academy of American Poets, among many other awards and honors. Her poems appear in The Harvard Review, Poetry International, New American Writing, Nimrod, Passages North, The Mid-American Review, and on the Academy of American Poets’ website, Poets.org. She has published essays in The Kenyon Review, Agni, Ploughshares, The Gettysburg Review, Gulf Coast, The Iowa Review, and numerous other magazines. Kristina currently serves as Editor-in-Chief of Tupelo Press and Tupelo Quarterly, an opinion columnist at The Los Angeles Review of Books, and a contributing writer at Publishers Weekly.
Chris Campanioni is a first-generation American, the son of immigrants from Cuba and Poland, and the author of the Internet is for real (C&R Press). He has worked as a journalist, model, and actor, and he teaches Latino literature and creative writing at Baruch College and Pace University. His “Billboards” poem that responded to Latino stereotypes and mutable—and often muted—identity in the fashion world was awarded an Academy of American Poets College Prize in 2013, his novel Going Down was selected as Best First Book at the 2014 International Latino Book Awards, and his hybrid piece “This body’s long (& I’m still loading)” was adapted as an official selection of the Canadian International Film Festival in 2017. A year earlier, he adapted his award-winning course, “Identity, Image, & Intimacy in the Age of the Internet,” for his first TEDx Talk. He edits PANK, At Large, and Tupelo Quarterly and lives in Brooklyn.
VELA.
Support this Community Member Directly: Knar requests donations to support Indigenous liberation in lieu of personal payment. https://therednation.org/support/
Read “Metabolic machines and materials: A conversation with Knar Gavin“
Project Description:
‘Vela.’ wonders about media ecologies/mediumicity, and wanders among vegetal life, fruits and animals, asking questions about entities not-just-human, and about proximity — how close is close? What vela lie beneath, or above, the variegated vellum that we are? I like to think my poems are worried about archives, too, yet capaciously so: what does the body archive? What does it send, and what does it re-seethe? What should the poem being doing about the Anthropocene, beyond re-marking it, and how can the poem engage meaningfully with other-than human intelligences and temporalities? There are these things, and then the poet shows up every now and again — I guess as a sort of rattled shy kid who nonetheless still loves the world, and never wants to stop glossing it — or trying.
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Knar (she/they) is a doctoral candidate in English at the University of Pennsylvania and holds graduate degrees from Iowa Writers’ Workshop and Syracuse University. Her research explores the ways in which experimental poetic forms can participate in and abet the struggle for environmental justice. Knar has helped to create and design the covidXclimate project (https://ppeh.sas.upenn.edu/experiments/covid-x-climate) at the Penn Program for Environmental Humanities and is the author of the chapbook Vela. (the Operating System, 2019). Recent poetry has been published or is forthcoming in AGNI, the Journal, Storm Cellar and West Branch. Tumbles can be found at knargavin.tumblr.com.
A PHANTOM ZERO
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Read “Infinite / Empty: The Bright Light of Attention: A Conversation with Ryu Ando”
Project Description:
‘[零] A Phantom Zero’ is an 8-part piece inspired by ‘the Drake Equation’.
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Ryu Ando’s writing has appeared in Strange Horizons, Pidgeonholes, Liquid Imagination, and other venues. His first book of poems, The Lost Gardens of the Hakudo Maru, is available from a…p press. Somewhere between L.A. and Saitama. This is where his characters exist and from where their voices carry. Lost and found. In Japan. In America. Sometimes both. Sometimes neither. Somewhere else entirely. https://ryuando.wordpress.com
DON'T BE SCARED
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Read “A Line of Flight: A Conversation with Magdalena Zurawski”
Project Description:
From the author: “‘Don’t Be Scared’ is a poem/essay generated from my experiences in the classroom. It attempts to implicate the classroom itself in a longer narrative of modernity and democratic struggle and in that sense it deploys my academic ‘upbringing’ for political ends.
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Litmus Press published Magdalena Zurawski’s poetry collection, Companion Animal, in April of 2015. Her novel, The Bruise, was published in 2008 by FC2. A poetry collection, ‘The Tiniest Muzzle Sings Songs of Freedom,’ will be out from Wave Books in Spring 2019. She is an Assistant Professor of English and Creative Writing at the University of Georgia.
2019 Digital Chapbooks
THE AMERICAN POLICY PLAYER'S GUIDE AND DREAM BOOK
DownloadProject Description:
JANUARY 2019
‘The American Policy Player’s Guide and Dream Book’ takes as its source an 1892 publication of the same name, which can be found in its entirety here: https://archive.org/details/americanpolicypl00kans. The author writes: “Instead of recopying as supposedly neutral ideological representation, I chose entries by feel, thinking of the Amerikkkkan nightmare as I went along. Then I went over it once more.”
Rachel Zolf’s writing and other artwork tends to queerly enact how ethics founders on the shoals of the political. Their five books of poetry include Janey’s Arcadia, Neighbour Procedure and Human Resources, all from Coach House Books, and a Selected Poetry is forthcoming. Films Zolf has written and/or directed have shown internationally at such venues as White Cube Bermondsey, the International Film Festival Rotterdam, and the Wexner Center for the Arts. Their work has won a Pew Fellowship in the Arts and a Trillium Book Award for Poetry and been a finalist for two Lambda Literary Awards, among other honors. Zolf lives in Philadelphia and is nearing completion of a theoretical text called A Language No One Speaks: The Dangerous Perhaps of Monstrous Witness.
THE GEORGE OPPEN MEMORIAL BBQ
Project Description: ‘The George Oppen Memorial BBQ’ could be considered a ritual, an invocation, a celebration, a protest. Its characters and landscape are an amorphous, chimeric Promised Land where retributions are real, demagogues are punished, and freedom is a call for both daiquiris and rumination. It is a network against austerity and homogeneity. It is a commune with enough space for the deepest of privacies. It is a place to destabilize the Western canon, to make cracks about Schopenhauer, to exile white messiahs, to mourn Fred Hampton, and Fela Kuti, and Federico Garcia Lorca. It is a brief rupture in time and space where possibilities are freed of their enclosures, where unrest is realized and invigorated. It is the moment when all the lights go out, right before the riot starts.
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Eric Tyler Benick is co-founder and editor at Ursus Americanus Press, a publisher of chapbooks. His poems have appeared or are forthcoming in The Vassar Review, Reality Beach, Bad Nudes, Graviton, decomP, Souvenir, Fruita Pulp, Fog Machine, and elsewhere. He is a current MFA candidate for Poetry at Sarah Lawrence College. He lives in Clinton Hill, Brooklyn.
FLIGHT OF THE MOTHMAN
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Read “Empathy, Cryptids, and Lore: A Conversation with Gyasi Hall”
Project Description:
MARCH 2019
‘Flight of the Mothman’ is a chapbook that attempts to navigate the impact of familial legacy, bi-racial culture, and various types of media on personal identity by examining specific moments throughout his family’s history and recasting the author as West Virginia’s famous Cryptid. It’s about Truth, Cartography, Dungeons & Dragons, and being black while listening to your favorite emo bands.
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Gyasi Hall is a poet, playwright, and cereal enthusiast from Columbus, Ohio studying Creative Writing and Film Theory at Otterbein University. He is the Poetry Editor for Otterbein’s literary magazine Quiz and Quill, and his work has been published/produced by Thoughtcrime Press, Z Publishing, Get Lit, and MadLab Studios, among others.
THE GRASS IS GREENER WHEN THE SUN IS YELLOW
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READ “Contours of Creative Risk: A Conversation with Valerie Witte and Sarah Rosenthal”
Project Description: “Witte and Rosenthal approach the linked figures of Simone Forti and Yvonne Rainer from multiple viewpoints, and indeed from different attitudes toward dance itself—rather like the attraction and repulsion anyone sensible feels toward this energy. Witte resents dance’s powers of exclusion, while Rosenthal responds to its open invitation, and they debate these positions with extreme generosity, each taking the other into account and tracking her through question, dare, a step forward, two steps back, across the lines of geography and social system. Just when you think you’ve got them placed, the book comes to a shattering close. But don’t worry, folks, Rosenthal and Witte keep dancing with the work of Rainer and Forti … this party’s just getting started.”––Kevin Killian
In ‘The grass is greener when the sun is yellow,’ poets Sarah Rosenthal and Valerie Witte engage with the work of dancer-choreographers Simone Forti and Yvonne Rainer. Through research into these innovative women’s dances, ideas, and lives, Rosenthal and Witte use language from and about the choreographers to create a series of co-written sonnets that are interwoven with letters between the two poets. These letters describe the process of composing the poems and branch into discussions of dance, poetics, gender, transgression, the unfolding disaster of the current political scene, and much else, in the associative weave that epistolary form enacts. Together, the poems and letters construct an environment of reflection, intimacy, and vulnerability, one that is both challenging and invitational.
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Valerie Witte is the author of a game of correspondence (Black Radish Books, 2015) and the chapbooks The history of mining (g.e. collective/Poetry Flash, 2013) and It’s been a long time since I’ve dreamt of someone (Dancing Girl Press, 2017). In 2014 she began a collaboration with Chicago-based artist Jennifer Yorke, and their work appeared in exhibitions in the U.S. and France. She has also participated in residencies at the Hambidge Center for the Creative Arts & Sciences; La Porte Peinte Centre pour les Arts in Noyers, France; and Ragdale Foundation. She is a founding member of the Bay Area Correspondence School and, over the years, helped produce many beautiful books for Kelsey Street Press. Learn more at valeriewitte.com.
Sarah Rosenthal is the author of Lizard (Chax, 2016), Manhatten (Spuyten Duyvil, 2009), and several chapbooks. Sarah edited A Community Writing Itself: Conversations with Vanguard Poets of the Bay Area (Dalkey Archive, 2010). Her poetry, fiction, and nonfiction pieces have appeared in numerous journals and are anthologized in Kindergarde: Avant-garde Poems, Plays, and Stories for Children (Black Radish, 2013), Building is a Process / Light is an Element: essays and excursions for Myung Mi Kim (P-Queue, 2008), and Bay Poetics (Faux, 2006). She has done grant-supported writing residencies at Vermont Studio Center, Soul Mountain, Ragdale, New York Mills, and Hambidge, and has been a Headlands Center Affiliate Artist. She lives in San Francisco where she works as a Life & Professional Coach and serves on the California Book Awards jury. More at sarahrosenthal.net.
FROM BEING THINGS TO EQUALITIES IN ALL
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Read “Revenant Syntax: The Half forgotten Language of Perpetual War: A Conversation with Joe Milazzo”
Project Description: ‘From Being Things, To Equalities In All’ is a sequence of 24 couplets (1 per page), the construction of which has been guided by syntactical, semantic and graphical constraint. The results are semi-concrete and utterly political — a language capable of acknowledging the degree to which it is both private refuge and public domain, and a language aware of its situation vis-a-vis history’s horizon.
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Joe Milazzo the author of the novel Crepuscule W/ Nellie and two collections of poetry: The Habiliments and Of All Places In This Place Of All Places. He is also an Associate Editor for Southwest Review, a Contributing Editor at Entropy, and the proprietor of Imipolex Press, a tiny publishing house dedicated to the promotion and preservation of heteronymic literature. Joe lives and works in Dallas, TX, and his virtual location is www.joe-milazzo.com.
THESE DEALS WON'T LAST FOREVER
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READ “Dream in Form and Function: A Conversation with Sasha Amari Hawkins”
Project Description: ‘These Deals Won’t Last Forever’ is a chapbook about watching and being watched. With influences ranging from the Elia Kazan-directed ‘Baby Doll’ to episodes of ‘WWF: Raw is War’, it explores the roles of women within the power structures of popular film and television. This work is the consolidation media tropes across genres into three narratives, seeking to reveal some pattern in their destructive depictions of women and questioning authorial/audience complicity in their perpetuation.
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Sasha Hawkins is a Phoenix, AZ based writer with a deep, abiding love for schlock films and professional wrestling. She is Managing Editor for The Volta, and has written for the University of Arizona Poetry Center blog.
VENTRILOQUY
Read “All Letters Are a Mimick: A Conversation with Bonnie Emerick
Project Description:
In ‘Ventriloquy’, the lines of letters on the page role-play as the dummy through which one speaks through, searching for and landing on a voice that ultimately
If writing ventriloquizes
How does one speak-through
find voice
the voice of the shuttle is ours
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Bonnie Emerick’s poetry has been published in print and online magazines, including Cannibal, the tiny, How2, So To Speak, Quarter After Eight, Little Red Leaves, and Fogged Clarity, among others. Her digital chapbook, Ventriloquy, is forthcoming from The Operating System. She teaches secondary English in Telluride, Colorado.
A PERIOD OF NON-ENFORCEMENT
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READ “Like An Absurd And Delicate Room: A Conversation with Lindsay Miles”
Project Description:
Inspired by Flannery O’Connor’s prayer journal, written at Iowa in the 1940s but only published in the last ten years, ‘A Period of Non-Enforcement’ is Lindsay Miles’ messy, pagan take on the form. A series of prose poetic fragments, ‘A Period of Non-Enforcement’ seeks to understand prayer, to engage prayer as both failure and promise, to expand it. Miles, as a person of eclectic and shifting faith, employs various physical, psychic and literary landscapes in the ongoing production and desecration of doubt. ‘A Period of Non-Enforcement’ is ultimately beholden to nothing but the language itself.
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Lindsay Miles is among the winners of the 2017 Blodwyn Memorial Prize. Her work has appeared in Plenitude, The Maynard, Self Care for Skeptics and Emerge, a Vancouver-based anthology. With a Creative Writing MFA from the University of Guelph, Lindsay is the author of the chapbook, Aloha Motel. She lives in Toronto, Canada.
QUANTUM MECHANICS: MEMOIRS OF A QUARK
Read “a vehic(cup)ular salut!-ation: A Conversation with Brad Baumgartner”
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Project Description:
The quantum world, like the mystical, is anonymous, aporetic, hidden. In order to view this strange realm—one filled with particles darting in and out of nowhere; of what Einstein once famously called “spooky action at a distance”—this collection takes as its subject matter a myriad of interfacings—quantum physics, mysticism, cryptography, impersonality, and meontology, to name a few. Playfully rigorous and rigorously playful, ‘Quantum Mechantics’ experimentally indexes a poetic form of ludic hopping (hop, from Old English hoppian “to spring, leap; to dance; to limp”). These text objects perform as the quantum world does: boggling and indeterminate, we discover a subatomic, quantum poetry-without-us—one that paradoxically exists only when observed.
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Brad Baumgartner is a writer, theorist, and Assistant Teaching Professor of English at Penn State. Recent creative work has appeared in ‘Burning House Press,’ ‘Tarpaulin Sky Magazine,’ ‘X Ray Literary Magazine,’ ‘Vestiges,’ and others. Current projects include ‘Weird Mysticism,’ a scholarly monograph, and several creative projects including a hybrid work entitled ‘Stylinaut,’ which was shortlisted for the 2019 Tarpaulin Sky Book Award, and a play called the ‘–tempered mid·riff.’
HARA KIRI ON MONKEY BARS
READ “A Punch in the Wall: A Conversation with Anna Hoff”
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Project Description:
‘Hara-kiri on Monkey Bars’ is a work in four parts, exploring, among other things: silicone breasts, hairless limbs, and see-through underwear; the influence of the media on attraction, submissiveness, and gender; condoms bananas pills, exhausted Barbie dolls, biology, education, and menstruation; daisies, knights, sleepovers, clothes that do not suggest, childhood, innocence, and love; paper cuts grannie panties, age, motherhood, and suicide. In the first and second sections, the forms of the poems follow the chemical structure of the 16-androstenes in pheromones, while the fourth section follows the chemical structure of serotonin: (C 10 H 12 N 2 O). Lastly: the answer to the introduction is the conclusion.
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Anna Hoff is working in a public school in Madrid as a part-time helper. The rest of her time is spent writing. You can find some of her work on medium(dot)com/@hoff(dot)anna(dot)wester. She studied literature at the University of Montreal.
