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"Forgive my bluntness, but...Goddamn, Sam Sax can write some poems. Devastating, comic, inventive, weird, dangerous, smart as hell. I could talk about the diction sometimes glass and sometimes bouquet. Or the syntax jagged here, balletic there. Or the metaphors, good lord. But the bottom line is that when reading the poems in A GUIDE TO UNDRESSING YOUR MONSTERS, one after the next, I kept saying to myself, probably twisting my face a little bit or squirming in my seat, "Goddamn, Sam Sax can write some poems." Ross Gay
Clatter is a chapbook by Neil Hilborn, produced in the aftermath of his severe concussion in a bicycle accident. Written in museums, ex-girlfriends’ kitchens, and Mexico, the chapbook showcases Hilborn’s breadth of style as well as his humor, and represents a unique glimpse into the writer's early work.
We Slept Here is a case study in vulnerability and honesty. In this sequence of memoir-esque poems, Sierra DeMulder pulls at the threads of a past abusive relationship and the long road to forgiveness. The poems themselves become that which was taken from her. These are hard poems, made up of clarity and healing, which attempt to share some of their peace with the world.
Jacqui Germain’s poems in When the Ghosts Come Ashore situate St. Louis as the archetypal American city: it’s here she explores the intersections of race, gender, and violence, here she finds the ghosts of those who still hunger for freedom. But Germain still carves out space for love. As Phillip B. Williams writes of these poems, “Placelessness is the place, leaving only the unsafety of flesh as a hideout. Black presences break from the margins and pierce through these hard lyrics.”
From the brilliantly talented National Poetry Series and James Laughlin Award winner comes a third collection of poems that uses the humble pig as a lens to explore the body, faith, desire, and power. This imaginative and singular poetry collection interrogates the broadest ideas surrounding the humble pig—farm animal, men/masculinity, police and state violence, desire, queerness, global food systems, religion/Judaism and law—to reimagine various chaotic histories of the body, faith, ecology, desire, hygiene, and power. Sam Sax draws on autobiography and history to create poems that explore topics ranging from drag queens and Miss Piggy to pig farming and hog lagoons. Collectively, these poems, borne of Sax’s obsession, offer a varied picture of what it means to be a human being. Delivered in a variety of forms, infused with humor, grace, sadness, and anger, Pig is a wholly unique collection from a virtuosic and original poet.
One of the most original performance poets of her generation, Melissa Lozada-Oliva has captivated crowds across the country and online with her vivid narratives. Humorous and biting, personal and communal, self-deprecating and unapologetically self-loving, peluda (meaning “hairy” or “hairy beast”) is the poet at her best. The book explores the relationship between femininity and body hair as well as the intersections of family, class, the immigrant experience, Latina identity, and much more, all through Lozada-Oliva’s unique lens and striking voice. Peluda is a powerful testimony on body image and the triumph over taboo.
2019 Ohioana Book Award - Readers' Choice Winner Nothing is Okay is the second full-length poetry collection by Rachel Wiley, whose work simultaneously deconstructs the lies that we were taught about our bodies and our beings, and builds new ways of viewing ourselves. As she delves into queerness, feminism, fatness, dating, and race, Wiley molds these topics into a punching critique of culture and a celebration of self. A fat positive activist, Wiley's work soars and challenges the bounds of bodies and hearts, and the ways we carry them.
"When you're dumb enough for long enough, you're gonna meet someone too smart to love you, and they're gonna love you anyway, and it's gonna go so poorly," Neil Hilborn writes in his debut full-length collection, OUR NUMBERED DAYS. In 2013, Hilborn's poem "OCD" went viral, and has amassed over 11 million views to date. While this collection ruminates on love, heartbreak, and mental illness, these poems are anything but saccharine. Hilborn uses the same humor and self-deprecation that propelled "OCD" to success in order to make his unmatched vulnerability all the more powerful. Ultimately, Hilborn is a poet of the people: his work is accessible, honest, and entertaining; a revitalizing entry in contemporary poetry.