Ink Earl

Shortlisted for the ReLit 2022 Poetry Award ink earl takes the popular subgenre of erasure poetry to its illogical conclusion. Starting with ad copy that extols the iconic Pink Pearl eraser, Holbrook erases and erases, revealing more and more. Rubbing out different words from this decidedly non-literary, noncanonical source text, she was left with the promise of “100 essays” and set about to find them. Among her discoveries are queer love poems, art projects, political commentary, lunch, songs, and entire extended families. The absurdity of the constraint lends itself to plenty of fun and funny, while reminding us of truths assiduously erased by normative forces. ink earl’s variations are testament in micro to the act of poiesis as not so much a building as an intrepid series of effacements; we rub away at the walls of language we’ve lived within in order to release both what’s been written over, and what we want to say now.

From USA Today bestselling author Anabelle Bryant comes a thrilling novel of unexpected passion—and its surprising consequences . . . “Your philandering ways need to come to an end. I’ll not have my heritage die by your foolish neglect.” Lord Jonathan Cromford, Earl of Lindsey, is not surprised by his cold-hearted late father’s will and the numerous conditions for claiming his inheritance. But requiring that the rogue first produce an heir is beyond the pale. Still, there was nothing for it but to sacrifice his desires for the sake of his well-being. Temporarily, at least. Yet when Lindsey accidentally meets Lady Caroline Nicholson, he finds that his life is suddenly full of the unexpected . . . Recently returned to London from Italy, Caroline won’t allow the questionable circumstances of her family’s hasty departure to overshadow her desire to marry well. With the help of her society-savvy cousins, she intends to be engaged before the season ends. But even her best laid plans do not prevent her from becoming tongue-tied upon meeting legendary rakehell, the Earl of Lindsey. She can only hope their instant attraction won’t devastate her future, much less her reputation. Still, as chemistry and fate throw them together, both Caroline and Lindsey may have to choose between comfort and pleasure, fear and truth, security and risk . . . “Those who enjoy headstrong heroines will appreciate [Amelia’s] story.” —Publishers Weekly on London’s Wicked Affair

Joyfully melding knowing humour and torqued-up wordplay, Holbrook’s second collection is a comic fusion of the experimental and the experiential, the procedural and the lyric. Punch lines become sucker punches, line breaks slip into breakdowns, the serious plays comical and the comical turns deadly serious. Holbrook’s poems don’t use humour as much as they deconstruct the comic impulse, exposing its roots in the political, the psychological and the emotional life of the mind. Many of these poems import shapes and source texts from elsewhere – home inspection reports, tampon instructions, poems by Lorca – in a series of translations, transpositions and transgressions that invite a more intimate and critical rapport with the written word. This is not merely a book, it is a chocolate-covered artificially intelligent virus with an impish sense of humour that will continue to replicate in your mind long after initial exposure.