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Maximum Gaga
Poetry. Get minky in the momodrome with Lara Glenum's second book, MAXIMUM GAGA. In scenic Catatonia, the Normopath snoozles, the Cherubim applaud, King Minus lies face-down, the Visual Mercenaries burst in, Icky and his school-boy minions race past, and the Queen Naked Mole Rat climbs inside the miraculating machine. Reworking the tabloid maximalism of Jacobean drama, this book investigates the politics of aesthetics and prosthetics, gender and power. With original cover art by Swedish artist Mia Makila. Lara Glenum's first book, THE HOUNDS OF NO, is also available from SPD.
108 pages, Paperback
First published January 1, 2008
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About the author
Lara Glenum
10 books46 followersLara Glenum is the author of four full-length poetry collections: The Hounds of No, Maximum Gaga, Pop Corpse, and All Hopped Up On Fleshy Dumdums. She is also the co-editor of Gurlesque: the new grrly, grotesque, burlesque poetics, an anthology of contemporary women’s poetry and visual art, and the upcoming digital second edition, Electric Gurlesque.
She has been the recipient of a Fulbright Fellowship to Prague and an NEA Translation Fellowship partner. She's currently an Associate Professor of English at LSU, where she's one of the directors of Delta Mouth, a national literary festival.
She has been the recipient of a Fulbright Fellowship to Prague and an NEA Translation Fellowship partner. She's currently an Associate Professor of English at LSU, where she's one of the directors of Delta Mouth, a national literary festival.
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Displaying 1 - 30 of 30 reviews
April 1, 2009
Check out my review of this book in the April edition of 'Gently Read Literature': http://gentlyread.wordpress.com/2009/...
July 24, 2012
http://ignoretheventriloquists.blogsp...
A certain post-human quality is also apparent in Lara Glenum’s second collection Maximum Gaga. Her first book, The Hounds of No (also published by Action Books) placed her at the forefront of the group of poets whose aesthetic tendencies Arielle Greenberg has termed “Gurlesque”, including Sabrina Orah Mark, Catherine Wagner and Chelsey Minnis. These poets work by drawing on overt femininity, kitsch, gratuitous ornamentation and a open, often aggressive sexuality, all tainted by a grotesque treatment[1]. Maximum Gaga builds on the groundwork of her earlier collection, taking the use of recurrent characters, theatricality and perverted romantic quests as the basis for this books oscillation between drama and verse in a baroque grotesquerie. The verse transforms into a horrific parody of Jacobian theatrical spectacle, literalising Deluzian tropes such as the Desiring Machine and the Schizophrenic machine alongside abominations such as Trannie Mermaids, Ultraclowns and Normopaths.
The text becomes the stage for a burlesque revue of perverse horror and debauchery, the players being assemblages of disparate parts and organs, orifices and frills, taking on roles as parts of sexual assemblages that mirror and move beyond those of De Sade and Pierre Guyotat.
Within the heavily ornamented theatricality of the text, where agitprop hangs “like gonads / from the walls of [the] voluptorium” the logic of gender and biology is lost in a seething mass of folds, questing phalli and labia that Minky Momo can stretch “around her body and [zip] herself inside”.
All concepts of bodily and sexual normalcy are destroyed, crushed under the tread of the “Visual Mercenaries”. Their rallying cry to “beg refuge in Maximum Gaga and its glorious excesses” paradoxically implies the amoral ethic of the collection: that these anti-real excesses are not something to take refuge from, but to enter into, and escape is only possible obeying their call to “submit to Maximum Gaga”.
This is what James Pate, writing on her first collection The Hounds of No, describes as the power of “obscenity as a site of possible liberation”. Submitting to the horror and excess allows the manifestation of escape from totalising realism and its hegemonic politicality, “through the secret side-door to the Sublime rather than through the mock world of realism”, manifesting itself as the “displace{ment of] causal logic with a totalizing logic of violence”. . The performance of gender and sexuality becomes conflated with violence as a liberating force, clensing these sites of the hegemonic forces of normativity / reterritorialization, allowing for a utopian (used in full knowledge of the words etymology), anti-realist project of construction to take place on the ashes of what once was.
This collection (assemblage?) is truly arresting, and truly liberating in its voluptuous carnage. It must be read to be believed.
April 19, 2010
Maximum Gaga by Lara Glenum capitalized on the grotesque and the sexual. After realizing this, I found twisted sexual references in almost every poem. While I did not personally enjoy this, it was definitely innovative to find so many made-up grotesque words like "hamhocks," "oologic juices,""brillie," "skinbag, "virgincakes," and "ham canyon." The aspect of the book I thought was most interesting was the cast of recurring characters: Mino/Minky/Momo, Icky, the Queen, the Normopath, etc. The characters gave the book more of a cohesive nature and prevented it from just being a conglomeration of grotesque poems. Still, I don't think the characters or some of Glenum's interesting visual effects (different fonts, capitalized letters, structure, etc.) saved the book completely from being quite gross and disturbing.
September 18, 2009
Shot diamonds through my ammo-sucking head.
April 2, 2019
Lara Glenum has a unique touch on grotesque text that leaps at you with snapping jaws filled to the brim with a particular drama of characters. Reading Maximum Gaga is only the beginning...
December 6, 2009
Running notes: Extends the project of the previous book from the horror of the extreme/archetypal to the horror of the NORMAL (Normopath, Normalcore). The poem "Feminine Hygiene" an obvious cover of Plath's "Lady Lazarus" --
The Facist's Bordello of Realism has come alive and is now an entire fairy tale kingdom of horrifying regularity...
What have you done with all your words & gaudy language hats? Ask
Maximum Gaga, that oracle of oracles! Maximum Gaga says: you have been
supremely swindled. You have not been severally penetrated by sublime
linguistic prongs, not even once. Language has refused to abduct you, refused
to shove you bodily into ferocious states in which your brain would luxuriate
in fields of wiggity-wack. Language has dismissed you without even a healthy
romp in the gravy mines.
Also: the use of "low" or "pop" diction (sez, ded, wiggity wack) and the Lacanian Mirror, esp in the previous passage, wherein "you" is forced, bodily, stuffed really, into language (body stuffed into language, language stuffed in the body) --
Regarding the body: this volume is more *performative*--less fairy tale narration, more spectacles, plays, dances, burlesques. Choice of medium highlights the body as medium for signifiers, "roles":
"The Body is the Inscribed Surface of Events!
A Volume in Perpetual Disintegration!
The Body is Always Under Seige!"
Also:
"The Queen sits on the couch, her ribcage cranked open to display nine tea-cups dangling on hooks. In each tea-cup, baby rats are continually born and tumble out of her body to scavenge on the floor."
HANS BELLMER EAT YR HEART OUT
Mino in the Traumadome is the only allusion to mythology that exists outside the world of Maximum Gaga. The Cow figures prominently into this book (as it did in Reines') but Glenum goes for its signifi-cance outright: "If our modern cows fascinate us so much it is not/ because they are sites of meaning & representation/ --that would not be new-- it is on the contrary/ because they are sites of the *disappearance* of meaning &/ representation." Lots of Baudrillard's Simulacra here.
The connective tissue of this book, the conceptual "sections" aren't distinctive enough to be be believable really -- The Pornotopiary, the Suppressed documents, the Excerpts from the Queen's journals...
The Facist's Bordello of Realism has come alive and is now an entire fairy tale kingdom of horrifying regularity...
What have you done with all your words & gaudy language hats? Ask
Maximum Gaga, that oracle of oracles! Maximum Gaga says: you have been
supremely swindled. You have not been severally penetrated by sublime
linguistic prongs, not even once. Language has refused to abduct you, refused
to shove you bodily into ferocious states in which your brain would luxuriate
in fields of wiggity-wack. Language has dismissed you without even a healthy
romp in the gravy mines.
Also: the use of "low" or "pop" diction (sez, ded, wiggity wack) and the Lacanian Mirror, esp in the previous passage, wherein "you" is forced, bodily, stuffed really, into language (body stuffed into language, language stuffed in the body) --
Regarding the body: this volume is more *performative*--less fairy tale narration, more spectacles, plays, dances, burlesques. Choice of medium highlights the body as medium for signifiers, "roles":
"The Body is the Inscribed Surface of Events!
A Volume in Perpetual Disintegration!
The Body is Always Under Seige!"
Also:
"The Queen sits on the couch, her ribcage cranked open to display nine tea-cups dangling on hooks. In each tea-cup, baby rats are continually born and tumble out of her body to scavenge on the floor."
HANS BELLMER EAT YR HEART OUT
Mino in the Traumadome is the only allusion to mythology that exists outside the world of Maximum Gaga. The Cow figures prominently into this book (as it did in Reines') but Glenum goes for its signifi-cance outright: "If our modern cows fascinate us so much it is not/ because they are sites of meaning & representation/ --that would not be new-- it is on the contrary/ because they are sites of the *disappearance* of meaning &/ representation." Lots of Baudrillard's Simulacra here.
The connective tissue of this book, the conceptual "sections" aren't distinctive enough to be be believable really -- The Pornotopiary, the Suppressed documents, the Excerpts from the Queen's journals...
January 2, 2014
ok, so this is a good book of modern poetry.
however,
there seemed to be plot loopholes (not that is necessarily bad, esp in poetry) which distracted and confused my tiny brain. some of this could be attributed to what felt like gender switcherooings, which was interesting to digest, but at times i couldn't buy into the concepts (such as the 18 breasts implanted around a torso to feed all the cities... which, so there are only 18 cities was confusing and not developed at all... though the implant part distances from necessity to develop, but even allowing for that it still seemed a shallow grasp conceptually)
the word contortions didn't work beyond the initial read. shifting an ordinary word into a revamped one which is supposed to open up the definitions is tough to pull off as more than sophmoric, and unfortunately most of them came off as such.
there is a huge lady gaga theme dealing with the Queen (where she got her name), a meat jacket, and a bunch of other reference points... it was a good idea in keeping the theme of the overly sexualized becoming boring after extremes have been ad naseumed (post-orifice, etc); there are a handful of other pop cultural reference points, esp with the mickey/minny mouse stuff, what seems like an eminem nod at one point, and others. some of it was well done, and, again, some of it fell flat in my opinion.
what really worked, for me, at least, was the ferverous tone, child-song-esque flows usurped by oddball structures, and the theme, that i found, at least,of said sexuality turnt post-forest fire feel. this is the books saviour. and Glenum really couldn't have chosen a better poem jesus. interested to see the wheat-sans-chaff of Glenum's work to come.
///////////
wow i remember writing that a year and a half ago and good god how time changes. this was a childish review, though there are still points i want to ask ms glenum about having to do with the gaga theme. i re-rated it because i intimately remember the writing the way i remember my favorite books, the characters, voices, and words. ultimately, this is how i come to view books now. and it's funny that i could tell back then that lara was onto something big after maximum gaga.
however,
there seemed to be plot loopholes (not that is necessarily bad, esp in poetry) which distracted and confused my tiny brain. some of this could be attributed to what felt like gender switcherooings, which was interesting to digest, but at times i couldn't buy into the concepts (such as the 18 breasts implanted around a torso to feed all the cities... which, so there are only 18 cities was confusing and not developed at all... though the implant part distances from necessity to develop, but even allowing for that it still seemed a shallow grasp conceptually)
the word contortions didn't work beyond the initial read. shifting an ordinary word into a revamped one which is supposed to open up the definitions is tough to pull off as more than sophmoric, and unfortunately most of them came off as such.
there is a huge lady gaga theme dealing with the Queen (where she got her name), a meat jacket, and a bunch of other reference points... it was a good idea in keeping the theme of the overly sexualized becoming boring after extremes have been ad naseumed (post-orifice, etc); there are a handful of other pop cultural reference points, esp with the mickey/minny mouse stuff, what seems like an eminem nod at one point, and others. some of it was well done, and, again, some of it fell flat in my opinion.
what really worked, for me, at least, was the ferverous tone, child-song-esque flows usurped by oddball structures, and the theme, that i found, at least,of said sexuality turnt post-forest fire feel. this is the books saviour. and Glenum really couldn't have chosen a better poem jesus. interested to see the wheat-sans-chaff of Glenum's work to come.
///////////
wow i remember writing that a year and a half ago and good god how time changes. this was a childish review, though there are still points i want to ask ms glenum about having to do with the gaga theme. i re-rated it because i intimately remember the writing the way i remember my favorite books, the characters, voices, and words. ultimately, this is how i come to view books now. and it's funny that i could tell back then that lara was onto something big after maximum gaga.
Read
April 28, 2011Glenum’s second book, Maximum Gaga explores many of the same issues as The Hounds of No., dealing primarily with ways in which the body has been written, failures of language, and the terror associated with finding everything to be a copy of a copy. Like the Hounds of No. Glenum approaches the issues by creating a bizarre fictional world and populating it with her grotesque and often sadistic or masochistic characters.
Maximum Gaga shows a newfound level of poetic maturity though. There are constant themes and spines that run throughout the otherwise chaotic dystopia, but there are not as many and each seems to carry more weight.
In dealing with issues of signification she restrains herself to using the eye as her primary symbol, a fascinating one as it is, of course, “organic,” connected to the body, but also our primary source for receiving text and images, producers of simulacra. She is playful with the idea of the eye, referring to her “eye-pod” and King Minus of Catatonia as a “national eye-con.”
She uses the idea of the cow to discuss the female body as Minus proposes turning Queen Naked Mole Rat’s “carnage suit” into a “docile cow,” and comes back to the image frequently from there.
The machine becomes the representation of sexuality.
Of course, the correspondence between the symbols and the meaning I’ve drawn from them is loose. The beauty of the poetry is the way in which all these elements violently clash and coexist with each other, often scrambling these meanings we may try to assign to them.
As with the Hounds of No., my one major problem was the over-proliferation of grotesque imagery that was at times numbing. I felt she was not committed enough to it in that it was rarely descriptive of specific scenes or events. Because it lacked grounding I was never actually shocked or disgusted, so when the intense imagery lacked meaning it felt superfluous. This flaw is simultaneously a strength as it speaks to the current state of image production and media’s desperation to produce spectacle.
Maximum Gaga shows a newfound level of poetic maturity though. There are constant themes and spines that run throughout the otherwise chaotic dystopia, but there are not as many and each seems to carry more weight.
In dealing with issues of signification she restrains herself to using the eye as her primary symbol, a fascinating one as it is, of course, “organic,” connected to the body, but also our primary source for receiving text and images, producers of simulacra. She is playful with the idea of the eye, referring to her “eye-pod” and King Minus of Catatonia as a “national eye-con.”
She uses the idea of the cow to discuss the female body as Minus proposes turning Queen Naked Mole Rat’s “carnage suit” into a “docile cow,” and comes back to the image frequently from there.
The machine becomes the representation of sexuality.
Of course, the correspondence between the symbols and the meaning I’ve drawn from them is loose. The beauty of the poetry is the way in which all these elements violently clash and coexist with each other, often scrambling these meanings we may try to assign to them.
As with the Hounds of No., my one major problem was the over-proliferation of grotesque imagery that was at times numbing. I felt she was not committed enough to it in that it was rarely descriptive of specific scenes or events. Because it lacked grounding I was never actually shocked or disgusted, so when the intense imagery lacked meaning it felt superfluous. This flaw is simultaneously a strength as it speaks to the current state of image production and media’s desperation to produce spectacle.
Read
December 5, 2009Oh, my goodness. I'm glad I chose to spend a little time with this one--reading it cover to cover and then going back and re-reading certain poems over and over. They grew on me upon subsequent re-readings. Truly, this is a dazzling poetic feat (bone pagodas! blowhole victrolas! looping blood sausages like streamers around the chandelier!), but don't take my word for it:
"Desire in any form/leaves you crawling into rude machines/leaves you hitched inside a hideous skinbag/for little or no pay"
And that's not the half of it. Basically, it's like reading a NIN video. I wouldn't advocate perusing it whilst grilling bratwurst for supper.
And yet I couldn't fall completely under its spell--maybe because I'm really just not that much of a poetry person, maybe because it was too high concept for me, maybe because it sort of felt like the private in-joke of a scatological toddler (albeit an insanely precocious and sophisticated one) playing with naughty words.
This notwithstanding, I'm most pleased to have made its acquaintance.
"Desire in any form/leaves you crawling into rude machines/leaves you hitched inside a hideous skinbag/for little or no pay"
And that's not the half of it. Basically, it's like reading a NIN video. I wouldn't advocate perusing it whilst grilling bratwurst for supper.
And yet I couldn't fall completely under its spell--maybe because I'm really just not that much of a poetry person, maybe because it was too high concept for me, maybe because it sort of felt like the private in-joke of a scatological toddler (albeit an insanely precocious and sophisticated one) playing with naughty words.
This notwithstanding, I'm most pleased to have made its acquaintance.
Read
May 7, 2010Before I even opened the book, just by looking at the cover, I knew Lara Glenum's writing was going to messed up, in the twisted, disturbing sense. I did enjoy the play on words she used, such as "in the male i discovered coupons". Even though these poems are pretty gross, I do enjoy her writing style and the wit that comes along with it, such as in "Pelvic Impersonator." I have found this to be one of the more captivating works that I have read so far. I enjoy how she sets the book up as if it were a play; with characters and acts and scenes. And there are so many made up words, it just lets the mind come up with a plethora of things that a "normopath" or a "grotslot" could be. also, all these made-up words all seem to have a gross connotation to them, which works well in her work. I wouldn't say that I got pleasure out of reading this book, but I did find it interesting and compelling.
March 3, 2009
And Action Books strikes again...
I feel like I'd have a hard time talking about this book, but some handy points of reference might be a porno through the lens of Cronenberg, or what I imagine a GWAR concert might look like.
As a kind of feminist text, this book makes Ariana Reines' "The Cow" look like a children's story about a cow. I really like that book, but this is a whole lot more effed up.
Here are a couple tamer sections:
"my slime-black braincombs/& fisted a garden gnome."
"giggling inside/like a runty hyena/with a stomach full of schoolgirl."
Brilliant!
Much of the text is composed of a play featuring what I took to be monsters, amputees, and some robots, like "Ded," a "schizophrenic machine" who speaks in Baudrillard, Foucault, etc.
Glenum also coins the phrases "eye-pod" and "cream-slammed." I think I'm in love.
I feel like I'd have a hard time talking about this book, but some handy points of reference might be a porno through the lens of Cronenberg, or what I imagine a GWAR concert might look like.
As a kind of feminist text, this book makes Ariana Reines' "The Cow" look like a children's story about a cow. I really like that book, but this is a whole lot more effed up.
Here are a couple tamer sections:
"my slime-black braincombs/& fisted a garden gnome."
"giggling inside/like a runty hyena/with a stomach full of schoolgirl."
Brilliant!
Much of the text is composed of a play featuring what I took to be monsters, amputees, and some robots, like "Ded," a "schizophrenic machine" who speaks in Baudrillard, Foucault, etc.
Glenum also coins the phrases "eye-pod" and "cream-slammed." I think I'm in love.
April 19, 2010
wow.........................wow..............
this is very very dirty. I feel like I just read playboy, but without the pictures. This book is definitely not for your grandparents.
Now some of these poems are pretty clever, grotesque/perverse imagery and all.
I am at a loss with this book. I have never read a book like this before. Should I applaud Glennum for her innovative and groundbreaking literary work, or denounce him for filling my head with these perverse and grotesque images. All in all this book was fine. I will admit it caught me by surprise, but in all honesty the vulgarity did not offend me. Maybe its the fact that I am a 20 year old man (just keeping with the stereotypes).
this is very very dirty. I feel like I just read playboy, but without the pictures. This book is definitely not for your grandparents.
Now some of these poems are pretty clever, grotesque/perverse imagery and all.
I am at a loss with this book. I have never read a book like this before. Should I applaud Glennum for her innovative and groundbreaking literary work, or denounce him for filling my head with these perverse and grotesque images. All in all this book was fine. I will admit it caught me by surprise, but in all honesty the vulgarity did not offend me. Maybe its the fact that I am a 20 year old man (just keeping with the stereotypes).
January 1, 2025
Beware the Normopath's hobbity gaga.
This was a weird discovery for me. I was returning from a hema tournament in Portland Oregon and visited Powel's books. I was looking for books of Bizzaro fiction, which had its birthplace in Portland. Powels didn't have any, but the Powel's woman I talked with recommenced Maximum Gaga by Lara Glenum. I opened it, and noted that the first poem was titled 'Minky Momo Speaks of Normopaths', and contained lines such as that below. I was immediately sold.
O Normopath
when you speak to me
please address
my stuffed monkey first
Maximum Gaga turned out to be a wondrous, rebellion of poetic adventure and an utter joy.
This was a weird discovery for me. I was returning from a hema tournament in Portland Oregon and visited Powel's books. I was looking for books of Bizzaro fiction, which had its birthplace in Portland. Powels didn't have any, but the Powel's woman I talked with recommenced Maximum Gaga by Lara Glenum. I opened it, and noted that the first poem was titled 'Minky Momo Speaks of Normopaths', and contained lines such as that below. I was immediately sold.
O Normopath
when you speak to me
please address
my stuffed monkey first
Maximum Gaga turned out to be a wondrous, rebellion of poetic adventure and an utter joy.
April 20, 2010
I was honestly too grossed out by a lot Glenum's work to appreciate the poetry for anything other than its shock value and ability to trigger my gag reflex. It reminded me of a short story, "Guts" written by Chuck Palahniuk, in that I had a strong visceral reaction to the writing. However, where "Guts" left me horrified and captivated, Glenum's poetry made me want to close the book and never finish reading. Though I applaud Glenum's ability to evoke such a strong reaction from her readers, her poetry is not for me.
November 19, 2009
I feel like minky momo is the purest expression of me at night, overtired and sleepy and desirous I make funny noises. I feel like they embody all of us, in ways, the characters. I like how this was interwoven, how it reminded me of itself later. How it was smart and playful and mean and loving and real and dream. I was a little scared before I read it, intimidated, I think. Now I can't remember why. From the first act it swallowed me. I could go on about love.
July 29, 2010
so wonderful. and undoubtedly a book far more intelligent than i will ever be. i like an author that makes the reader uncomfortable. and who evokes grotesque. nothing about it is boring. but it's hard to read in one sitting. it's something i read when i feel like thinking about feminine theory. or when i'm reading other gurlesque authors like d. pafunda, etc. but it's not something i read when i'm in the mood for poetry. that's just personal taste.
November 8, 2009
Okay, so I haven't actually finished reading this yet, but I got half way through before I had to return it.
It's wonderfully grotesque in a really cartoon-y way. Not necessarily in an Evil Dead/ Dead Alive/ any other schlocky film you can think of-way, and I think that is partially because it is coming from a very feminine perspective. But I could also be projecting femininity onto this because I knew beforehand the author is female. This excited me. I need to finish reading it, obviously.
It's wonderfully grotesque in a really cartoon-y way. Not necessarily in an Evil Dead/ Dead Alive/ any other schlocky film you can think of-way, and I think that is partially because it is coming from a very feminine perspective. But I could also be projecting femininity onto this because I knew beforehand the author is female. This excited me. I need to finish reading it, obviously.
April 19, 2010
As noted by others, these poems are unapologetic in their grotesque nature. I thought it was a bit overdone and unnecessary at times. It was not very accessible for me and many of the word choices were so innovative that it almost obstructed my understanding of the work as a whole. That being said, there were a lot of interesting words and word pairings that put some new images in my mind and even made me laugh as well.
February 11, 2009
Glenum returns with another grotesque and fantastical orgy of poems. This time they seem to be connected like a weird Richard Foreman play translated into redneck red-light dadaisms. Her words blur and hiss like a radio not quite tuned right but you can't turn it off because they're saying things you've never heard or imagined before. These poems make even your weirdest dreams seem boring.
April 21, 2010
Great. A good attitude for this world. Uninhibited, intense, direct, uncute. Reminded me of Harold and Maude. Also, great sound, flow and phrasing. Form intelligent, dry funny, unwhiny. Loved "To commit orifice is a crime / punishable by mirth". Loved "'sauciest slit' badge", "crooking around in the pink for some goatspank", "the balling was grand", "super-vixenated language engines".
May 19, 2009
this book's a turn on in so many ways. the language, syllable by syllable. the imagery. the architecture. Glenum's a REAL monster!
i interviewed Lara about this book. It's on my blog.
http://rauanklassnik.blogspot.com/200...
i interviewed Lara about this book. It's on my blog.
http://rauanklassnik.blogspot.com/200...
April 19, 2010
Sometimes the grossness of the poems seemed a little gimmicky, but I enjoyed the sounds while reading it. I think the choices in certain words was also interesting as well. Overall, an interesting/experimental book, but not something for those who are easily grossed out or appalled.
Read
April 27, 2016OMG, freaking incredible. Noisy! Grotesque! So much fun. I think I am in love with this book.
April 19, 2010
Jesus...I feel like I just got slapped in the face by Lady Gaga, but it was just Maximum Gaga...well, what's the difference?
March 1, 2011
'If you manage / to finagle an orifice / out of my lubricious runts // a pink sugar deer...'
November 25, 2011
Wow! A grotesque delight.
February 2, 2012
This book reminded me of going to the Mütter Museum in Philly. It's gross and sometimes funny and you have to wonder at the mind of the person who curated (or in this case created) all of it.
September 18, 2012
Shite, my friends
October 24, 2013
"I must make of my carnage / a miraculating machine"
Displaying 1 - 30 of 30 reviews