Poetry. A mix of violence and humor offers just a glimpse of Abelkop's poetic vision whereby in poem after poem she explores the gritty and sometimes sinister side of sexuality in mock-romantic and surrealist fashion: "A murder / glided in last night, nested / in your bouffant, stayed / for months." With disturbing wit she takes aim at shattered domesticity, while also exploring the often bizarre and disturbing realm of gender politics. This is an ominous, gothic universe where the jagged terrain of the human body becomes a canvas for uncanny scenes full of perversity and complexity, beauty and brutality. Each poem is a collage made from snapshots, memories, or the fractured mise-en-scene of wives and women historical, imagined, mythological, fabulist, and cinematic. Grappling with fear, desire, lust, and uncertainty, the frenzied inhabitants of Abelkop's world blur the distinction between prayer and cannibalism."

Collecting the best of the underground blog Weird Sister, these unapologetic and insightful essays link contemporary feminism to literature and pop culture. Launched in 2014, Weird Sister proudly staked out a corner of the internet where feminist writers could engage with the literary and popular culture that excited or enraged them. The blog made space amid book websites dominated by white male editors and contributors, and also committed to covering literary topics in-depth when larger feminist outlets rarely could. Throughout its decade-long run, Weird Sister served as an early platform for some of contemporary literature’s most striking voices, naming itself a website that “speaks its mind and snaps its gum and doesn’t apologize.” Edited by founder Marisa Crawford, The Weird Sister Collection brings together the work of longtime contributors such as Morgan Parker, Christopher Soto, Soleil Ho, Julián Delgado Lopera, Virgie Tovar, Jennif(f)er Tamayo, and more, alongside new original essays. Offering nuanced insight into contemporary and historical literature, in conversation with real-life and timely social issues, these pieces mark a transitional and transformative moment in online and feminist writing.

Poetry. I EAT CANNIBALS, the second collection from poet and Birds of Lace editor Gina Abelkop, operates as a meditation on what it means to have and inhabit a body, finding herself both human and un-human while navigating the ether between the physical and spiritual. Intertwined throughout are meditations on temporality, home, and ownership, explored through dance music and a visceral, ever-evolving relationship to the land.

"Queer, dirty, insightful, and so funny" (Andrea Lawlor), this coyly revolutionary debut story collection imagines new origins and futures for its cast of unforgettable protagonists--almost all of whom are named Sarah. NAMED A MOST ANTICIPATED BOOK OF 2021 BY THE MILLIONS * OPRAH MAGAZINE * LAMBDA LITERARY * ELECTRIC LITERATURE * REFINERY29 * COSMO * THE ADVOCATE * ALMA * PAPERBACK PARIS * WRITE OR DIE TRIBE * READS RAINBOW In Sarahland, Sam Cohen brilliantly and often hilariously explores the ways in which traditional stories have failed us, both demanding and thrillingly providing for its cast of Sarahs new origin stories, new ways to love the planet and those inhabiting it, and new possibilities for life itself. In one story, a Jewish college Sarah passively consents to a form-life in pursuit of an MRS degree and is swept into a culture of normalized sexual violence. Another reveals a version of Sarah finding pleasure--and a new set of problems--by playing dead for a wealthy necrophiliac. A Buffy-loving Sarah uses fan fiction to work through romantic obsession. As the collection progresses, Cohen explodes this search for self, insisting that we have more to resist and repair than our own personal narratives. Readers witness as the ever-evolving "Sarah" gets recast: as a bible-era trans woman, an aging lesbian literally growing roots, a being who transcends the earth as we know it. While Cohen presents a world that will clearly someday end, "Sarah" will continue. In each Sarah's refusal to adhere to a single narrative, she potentially builds a better home for us all, a place to live that demands no fixity of self, no plague of consumerism, no bodily compromise, a place called Sarahland.

This revised edition includes a New Intergalactic Introduction by the Author. Mary Daly's New Intergalactic Introduction explores her process as a Crafty Pirate on the Journey of Writing Gyn/Ecology and reveals the autobiographical context of this "Thunderbolt of Rage" that she first hurled against the patriarchs in 1979 and no hurls again in the Re-Surging Movement of Radical Feminism in the Be-Dazzling Nineties.

Poetry. Latino/Latina Studies. Translated from the Spanish by Lisa Rose Bradford. Bilingual Edition. why beneath the glory of this sun / do i sorrow like an ox? A bull awakes one day to the realization that he's a castrated, browbeaten ox but is then briefly abstracted from this sorrow as the morning sun gently warms his hide and lifts heady aromas from the grass; while a man, graced with human cogitation, but burdened with the general suffering that surrounds him, delights in gorgeous women walking through flowery plats, who fleetingly offer distraction: this ambivalent oxen attitude pervades Juan Gelman's OXEN RAGE. Rife with speculation and uncertainty, this is a book of ruminations, written in language at times unorthodox and full of quirky coinages, often playful and paradoxical, always musical and richly imaginative. OXEN RAGE is a 'midpoint 20th century' masterwork by a poet 'wretched and proud, ' 'obscure in all his emberglow.' An exile, as Dante & so many 'word-concertistas' before him, Juan Gelman 'disorders the chaos / with demented exactitude.' To have this core book of his oeuvre become available now, accurately and beautifully englished, is a major event--and a superb & most useful guide through this, our own, demented century.--Pierre Joris With her precise and imaginative translations, Lisa Rose Bradford makes it possible for the English-language reader to finally know one of the masterpieces of 20th-century Latin American poetry, Juan Gelman's OXEN RAGE. The work is a major crossroads in the leading thoroughfares traversed by this author, a model of rebellion and freedom, of devotion and rigor, in his exploration of reality through poetry. Each one of the 'the remains of nine books' that makes up OXEN RAGE has its own character and in their sequence achieves the total integration of the political and aesthetic avant-garde. Gelman takes on poetry as a widening of the understanding of the world, as the possibility of universal dialogue, as a radically transformative act.--Víctor Rodríguez Núñez Juan Gelman's groundbreaking OXEN RAGE--one of the key works of Spanish-language poetry published in the second half of the twentieth century--engages the question of translation in unexpected and fascinating ways. Fortunately for English-speaking readers, Lisa Rose Bradford has produced an astonishing version in English of this masterpiece by the 2007 Cervantes Prize winner, published here in a wonderfully edited bilingual volume. Word by word, poem by poem, and book by book, Bradford carefully reproduces the playful logic of translation that pervades Gelman's original with exceptional ease and grace. If, as the Argentine poet suggests, the poems of Cólera buey constitute a 'herd of pieces that aspire to breathe, ' Bradford manages to reproduce in OXEN RAGE that same vital aspiration by subtly recreating the many different dictions, tones, and voices that articulate Gelman's experimental conceptualization of poetic creation as a process of translation. As Bradford's version powerfully shows us, it is precisely here, in the crucial space where translation and creative writing ambiguously blur lines-an essential tradition of modern poetics gradually established by writers of the stature of Fernando Pessoa, Ezra Pound, Jorge Luis Borges, Jack Spicer, or Mary Jo Bang--where Gelman's OXEN RAGE undoubtedly deserves a distinguished place.--Ignacio Infante, Washington University in St. Louis His writing is like a gust of wind, like a pounding wave where the sands delight in his verbal marvels, broken sentences, absence of punctuation, fractured rhythms that link, superimpose, interrupt and chop, leaving the poem in a question mark, which is a mark of life, the frozen sign of doubt. OXEN RAGE is a key book in twentieth- century Argentine literature, and with its publication, Gelman became an indispensable figure in the world of literature.--Marcelo Pichon Rivière, writer & filmmaker