Every Form of Ruin: Poems
A rebuttal to Aeschylus’s Oresteia, Every Form of Ruin posits the Erinyes’ fury as righteous, understanding Clytemnestra’s rageful response to loss, and refusing Iphigenia’s relegation to a footnoted sacrifice. A fierce and darkly funny examination of anger, these lyrical poems push back against silencing by playing witness to a world where the experiences of women, nonbinary, and femme-identifying people are too often ignored, their responses dismissed as hysterical. These poems are also investigations into the loneliness of midlife; the search for one’s own self when that self has given its life to service. Every Form of Ruin counters our culture’s erasure of women and resists the categorizations of maiden, mother, crone by blurring those distinctions through the creation of voices that are moved by rage and resistance.


BLACK THUMB

The dogwood was threatening to swallow the back garden’s light,

so I borrowed a chainsaw and gas.
Its last berries a memory of red, the fruit

bitter, tiny angry mangos in the mouth of its killer. Nights my son chooses his father

to read him into silence, I practice not loving anything. Less like learning than remembering.

As a child, I studied how to be a child.
I was given a doll to care for

but could never remember its name.
I left her face down everywhere.
1142153207
Every Form of Ruin: Poems
A rebuttal to Aeschylus’s Oresteia, Every Form of Ruin posits the Erinyes’ fury as righteous, understanding Clytemnestra’s rageful response to loss, and refusing Iphigenia’s relegation to a footnoted sacrifice. A fierce and darkly funny examination of anger, these lyrical poems push back against silencing by playing witness to a world where the experiences of women, nonbinary, and femme-identifying people are too often ignored, their responses dismissed as hysterical. These poems are also investigations into the loneliness of midlife; the search for one’s own self when that self has given its life to service. Every Form of Ruin counters our culture’s erasure of women and resists the categorizations of maiden, mother, crone by blurring those distinctions through the creation of voices that are moved by rage and resistance.


BLACK THUMB

The dogwood was threatening to swallow the back garden’s light,

so I borrowed a chainsaw and gas.
Its last berries a memory of red, the fruit

bitter, tiny angry mangos in the mouth of its killer. Nights my son chooses his father

to read him into silence, I practice not loving anything. Less like learning than remembering.

As a child, I studied how to be a child.
I was given a doll to care for

but could never remember its name.
I left her face down everywhere.
18.0 In Stock
Every Form of Ruin: Poems

Every Form of Ruin: Poems

by Erin Adair-Hodges
Every Form of Ruin: Poems

Every Form of Ruin: Poems

by Erin Adair-Hodges

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Overview

A rebuttal to Aeschylus’s Oresteia, Every Form of Ruin posits the Erinyes’ fury as righteous, understanding Clytemnestra’s rageful response to loss, and refusing Iphigenia’s relegation to a footnoted sacrifice. A fierce and darkly funny examination of anger, these lyrical poems push back against silencing by playing witness to a world where the experiences of women, nonbinary, and femme-identifying people are too often ignored, their responses dismissed as hysterical. These poems are also investigations into the loneliness of midlife; the search for one’s own self when that self has given its life to service. Every Form of Ruin counters our culture’s erasure of women and resists the categorizations of maiden, mother, crone by blurring those distinctions through the creation of voices that are moved by rage and resistance.


BLACK THUMB

The dogwood was threatening to swallow the back garden’s light,

so I borrowed a chainsaw and gas.
Its last berries a memory of red, the fruit

bitter, tiny angry mangos in the mouth of its killer. Nights my son chooses his father

to read him into silence, I practice not loving anything. Less like learning than remembering.

As a child, I studied how to be a child.
I was given a doll to care for

but could never remember its name.
I left her face down everywhere.

Product Details

ISBN-13: 9780822966913
Publisher: University of Pittsburgh Press
Publication date: 02/14/2023
Series: Pitt Poetry Series
Pages: 120
Product dimensions: 5.90(w) x 7.80(h) x 0.50(d)

About the Author

Erin Adair-Hodges is the author of Let’s All Die Happy, winner of the Agnes Lynch Starrett Poetry Prize. Recipient of the Allen Tate Prize and the Loraine Williams Poetry Prize, her work has been featured in American Poetry Review, Gulf Coast, Kenyon Review, PBS NewsHour, Ploughshares, Sewanee Review, and more. Born and raised in New Mexico, she now lives with her family in Kansas City, Missouri, and works as a fiction acquisitions editor.

Read an Excerpt

BLACK THUMB 

The dogwood was threatening 

to swallow the back garden’s light, 


so I borrowed a chainsaw and gas.  

Its last berries a memory of red, the fruit 

 

bitter, tiny angry mangos in the mouth 

of its killer. Nights my son chooses his father  

 

to read him into silence, I practice not loving 

anything. Less like learning than remembering. 

 

As a child, I studied how to be a child. 

I was given a doll to care for  

 

but could never remember its name. 

I left her face down everywhere. 

 

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