OKAY, OKAY is a book of poetry that appropriates other people's feelings. It deals mostly with crying and the places crying happens, though it shouldn't: at work, in bed, on the train, in the movies, etc. The book moves from a paranoid description of an office layout, to managerial complaints, to strategies for repressing emotions in public, to women crying during sex, to scientific investigations of the link between (female) crying and (male) arousal, making a last minute return to the office before ending in the kitchen of a country club. Cecila Corrigan writes that OKAY, OKAY is "super emo, which is what makes it rule so hard. [She] was reading it between parties and having drunk emo thoughtson the N train." Steven Zultanski writes that "unlike other poetry books, it seems as if [she] put time and work into it."
There’s no crying in the world. There’s no crying in rock. There’s no crying in life. There’s no crying in cappuccinos. There’s no crying in Edinburgh. There’s no crying in Linguistics. There’s no crying in pronouns. There’s no crying in subject pronouns. There’s no crying in null subject pronouns. There’s no crying in pubs. There's no crying in electronica. There’s no crying in residences. There’s no crying in Psycholinguistics. There’s no crying in the street. There’s no crying in anaphora. There’s no crying in the bathroom. There’s no crying in bilingualism. There’s no crying in communal kitchens. There’s no crying in the city. There’s no crying in academia. There’s no crying in Pragmatics. There’s no crying in flight booking. There’s no crying in Europe. There’s no crying in photography. There’s no crying in pornography. There’s no crying in publishing. There’s no crying in the UK.