MARC Record from harvard_bibliographic_metadata

LEADER: 01913cam a2200289Ii 4500
001 014023278-8
005 20140504170846.0
008 140116s2013 nju 000 p eng d
020 $a9780982658758
020 $a0982658753
035 0 $aocn868233449
040 $aWYU$beng$erda$cWYU$dYDXCP$dBDX$dZLM$dCGP
082 04 $a811/.6$223
090 $aPS3616.A3366$bN388 2013
100 1 $aPafunda, Danielle,$eauthor.
245 10 $aNatural history rape museum /$cDanielle Pafunda.
264 1 $a[New Jersey] :$bBloof Books,$c[2013]
300 $a79 pages ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
500 $aPoems.
520 $a""It feels good," says Danielle Pafunda, "to conduct the world's violence on the page. It's my response to violence without doing or incurring much violence. It's how I navigate through it." The fifth poetry collection by Danielle Pafunda, Natural History Rape Museum centers around an unnamed speaker and her intimate/adversary, the fuckwad, in pieces interrupted (or violated) by their boxed-in titles. Further interrupting this narrative are a prose sequence and a menagerie of objects/animals/elements borne as totems by the speaker--a lump of coal, a stingray, a cord of wood, a wolf spider, an earthworm, the fly. The volume culminates in four linked essays on the subject of pain: The Bid for Pain, The Manner in Which Pain Becomes Me, Pain Beak-Pecks a Figurine, and Extraterrestrial Painsake. Exploring the more grotesque corners of the Gurlesque aesthetic, in Natural History Rape Museum Pafunda ventriloquizes through the unstable identities of her characters to create creepy tableaux that resemble--despite their vivid, violent excesses--the world we know." -- Publisher's description.
650 0 $aAmerican poetry$y21st century.
899 $a415_565019
988 $a20140504
906 $0OCLC