Horns (Winner of the Wilder Prize) Price includes shipping
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HORNS by Tiffany Midge
Winner of the Two Sylvias Press Wilder Poetry Book Prize
Praise for Horns:
Tiffany Midge’s Horns is a comedic romp and a razor-edged burlesque, with seriousness in its bones. Midge’s cast of characters, drawn from pop culture, history, and literature in equal measure, is epic, from the Maiden on the Land O’Lakes Butter Box to Martha Stewart to Corpse Bride, the Girl Scouts of America to Satan himself. Her structures are as abundant as her performers. There are lists, outlines, contemporary ghazals and sonnets, interviews, statistical round-ups, and marriage vows. There’s nuance, too, and spot-on moments of lyricism: “Her dresses, hung in the closet like sides of beef,” she writes in one poem. And at the end of “Matrimonial Vows for Cannibals:” “I will savor your brain for last, that soft, sweet rind, / your edible, desirable, loveable mind.” True to its title, Horns is sharp, dangerous, and melodic, a collection that resonates with joyous critique. —Diane Seuss, author of frank: sonnets and Modern Poetry
I often read books without any idea what I’m hungry for. Turns out Horns has the mysterious ingredient. Like the star of Midge’s poem, “Voracious Insatia,” I am she who “wants those words… wants those liturgies, those witnesses, those gospels,” who “combs those truths through her hair like honey rinse...” Yes, I want all that, and these poems deliver. This collection celebrates women as transgressive agents--she-devils with sharp horns made of wit, wielded to poke, prod, and stick it to the patriarchy. —Rena Priest, author of Sublime Subliminal and Beaches
Tiffany Midge's "Horns" is the rare kind of book that delights, enrages, provokes, and invokes laughter all at once. From giving us the voices of monster's brides and zombies to interrogating "Indigenous Census Statistics," Tiffany's irreverent, always surprising poems practically beg to come to life as you read them. You may already know her for her humor essays, but reading her poetry, you can see a writer who can flex between worlds of horror and philosophy, satire, and political critique with equal power. A must-read from a voice that demands—and rewards—attention. Midge is a writer to remember. —Jeannine Hall Gailey, author of Flare, Corona and Field Guide to the End of the World
In this lyric collection, Midge frankensteins hybrids, patches disparate fragments into forms that reflect the grotesque as a sort of caricature to mock power structures. She’s by turns evocative, provocative, and funny as hell—like all good humorists, simultaneously hilarious and deadly serious, as she reimagines such Great American (Indian) Novels as The Dreamcatcher in the Rye, the use of Savage ____ in the titles of Native/White interracial romance novels whose lovers lack “commod bods,” Satan’s horned daughter struggling as the ultimate interracial child, or the Indian Princess gone MIA from the Land O’ Lakes box: “O our butter maiden / brought all the boys to the yard /… / the only Indian woman gone missing / that anyone…cares about.” —Heidi Czerwiec, author of Fluid States
Winner of the Two Sylvias Press Wilder Poetry Book Prize
Praise for Horns:
Tiffany Midge’s Horns is a comedic romp and a razor-edged burlesque, with seriousness in its bones. Midge’s cast of characters, drawn from pop culture, history, and literature in equal measure, is epic, from the Maiden on the Land O’Lakes Butter Box to Martha Stewart to Corpse Bride, the Girl Scouts of America to Satan himself. Her structures are as abundant as her performers. There are lists, outlines, contemporary ghazals and sonnets, interviews, statistical round-ups, and marriage vows. There’s nuance, too, and spot-on moments of lyricism: “Her dresses, hung in the closet like sides of beef,” she writes in one poem. And at the end of “Matrimonial Vows for Cannibals:” “I will savor your brain for last, that soft, sweet rind, / your edible, desirable, loveable mind.” True to its title, Horns is sharp, dangerous, and melodic, a collection that resonates with joyous critique. —Diane Seuss, author of frank: sonnets and Modern Poetry
I often read books without any idea what I’m hungry for. Turns out Horns has the mysterious ingredient. Like the star of Midge’s poem, “Voracious Insatia,” I am she who “wants those words… wants those liturgies, those witnesses, those gospels,” who “combs those truths through her hair like honey rinse...” Yes, I want all that, and these poems deliver. This collection celebrates women as transgressive agents--she-devils with sharp horns made of wit, wielded to poke, prod, and stick it to the patriarchy. —Rena Priest, author of Sublime Subliminal and Beaches
Tiffany Midge's "Horns" is the rare kind of book that delights, enrages, provokes, and invokes laughter all at once. From giving us the voices of monster's brides and zombies to interrogating "Indigenous Census Statistics," Tiffany's irreverent, always surprising poems practically beg to come to life as you read them. You may already know her for her humor essays, but reading her poetry, you can see a writer who can flex between worlds of horror and philosophy, satire, and political critique with equal power. A must-read from a voice that demands—and rewards—attention. Midge is a writer to remember. —Jeannine Hall Gailey, author of Flare, Corona and Field Guide to the End of the World
In this lyric collection, Midge frankensteins hybrids, patches disparate fragments into forms that reflect the grotesque as a sort of caricature to mock power structures. She’s by turns evocative, provocative, and funny as hell—like all good humorists, simultaneously hilarious and deadly serious, as she reimagines such Great American (Indian) Novels as The Dreamcatcher in the Rye, the use of Savage ____ in the titles of Native/White interracial romance novels whose lovers lack “commod bods,” Satan’s horned daughter struggling as the ultimate interracial child, or the Indian Princess gone MIA from the Land O’ Lakes box: “O our butter maiden / brought all the boys to the yard /… / the only Indian woman gone missing / that anyone…cares about.” —Heidi Czerwiec, author of Fluid States
