“If a girl, a virus, a horned animal, milkweed, an exchange of cash for dirty looks, the near-rhyme of greed to death, the names of all brutes, and a shroud in which was wrapped the erect ascendant all met in an ovum and, lodged deep in the earth’s core, fused into a supernova. If, from that long ago time until this very moment—perhaps even into the future—that supernova were listening in on us, her grave canal located such that she were overexposed to US American politicovangelizing, all at once began to speak: this is what she says.” —Danielle Pafunda
“Dylan Krieger is an expert assassin with the messianic fervor of a deconstructed goth-girl, a rogue priestess exorcising and excoriating our tricked-out ‘apocalypse fetish,’ dealing out death-blows ‘quid pro blow.’ These poems are erratic/erotic receivers channeling bad transmissions from our ‘edenic pandemic’—the media clusterfuck, body-as-clickbait, that gaslights women into being their own terror portals. Here unfettered receivership, masochism, and degradation are served as the ultimate limit experience, the euphoria of the self-detonating female body that ejects its own organs so that the whole Christ-addled misfire that is our masculinist moral world ‘might splat.’” —Lara Glenum
“‘… a part of me is always eating part of you…’ This word-drunk, ‘son-drunk’ book of ecstatic technology doesn’t just profane the sacred but also – the much less common – sacralizes the profane, the grotesque, the body in all of its troubling, intoxicating, ruinous splendor. These highly skilled, outrageous poems move at a breakneck speed.” —Johannes Göransson
“Heady sound-based unabashed blasphemy. Kick in the dick, pathogenic poetry sure to infect society with exactly the offense it needs.” —Vincent Cellucci
An early version of Giving Godhead was selected to win LSU's Robert Penn Warren Award for best poetry thesis.
"This is the opposite of a sophomore slump. Like the latest subatomic experiments in above-the-speed-of-light velocity, for a fraction of a second, when the same particle is in two places at the same time, Dylan Krieger will be there and elsewhere. As if Giving Godhead weren't good enough, suddenly she hits out past light-years of stratospheres and reproductive insanities of biology back to the 'invertebrate mother' and the lunacy of a planet organized largely around humanoid self-destruction. The scale becomes both precise and enormous, echoes of things heard as if through water in a glass. You will have to think about the sound of it all for a few days, it is both so familiar and so volatile. dreamland trash is one of the most perfect IED’s ever made." —Thomas Simmons
“'Holding whole generations up at sexpoint,'” dreamland trash is ingenious, witty, and electric. We are just as likely to wake up next to a moaning unicorn as we are to be abducted by deranged YouTube automatic captions. It’s in this derangement that we begin to see the late- capitalist world inside out and upside down, for its cheap thrills and absolute devaluation of the self. Abandon and alienation are rendered in a linguistically dense, gothic style, deeply aware of the 'day-glo chokehold' we are all in." —Sandra Simonds
"Dylan Krieger’s no ledge left to love is a book of delirious delights. Cutting across time(s) to fashion a visceral, necessarily disturbing tour of thought experiments and philosophical constructs, Krieger writes with an audacious yet sobering energy. Rife with vertiginous wordplay and transgressive intent, these are poems 'for the savagesphere or wherever next we might emerge after a thousand years cocooning in our eyelashes and sticky furs.'" —Brian Henry
"In No Edge Left To Love, Dylan Krieger deftly ricochets between the philosophical and the grotesque through powerfully direct prose poems that retain hypnotically lyric lines. Smart, visceral, and relentless, Krieger breathlessly hacks at the bloated body of western reason and—through a parade of mouths, derelict deities, and rivers of goo—keeps one hand extended, inviting us to the dance." —Janaka Stucky
"Dylan Krieger is a philosopher, there is no doubt about that, and with a typical philosopher's bravado she takes an analytical exacto knife to the problems of our world. What does she find? Crony Capitalism and systems of oppression and dominance instituted by heterosexual upper class white males in order to keep their hegemony on power. She speaks to us as the voice of the zeitgeist of America, a Greek chorus we have ignored for far too long. And the Greek influence is subtly present, almost undetectable. The metric and rhyme scheme she makes use of will remind readers of the epic poems of old. And this is a new epic poem— not only because it makes deft use of rhyme and pattern—see quantum immortality—but because it traces the heroine's journey from darkness into an even greater darkness. The Odyssey is the story of the last hero from the Greek age of Heroes, no ledge left to love is the story of humanity's last age. Imbued with philosophical concepts and wit—Krieger's tour de force is a trumpet call, but only for those who will hearken to it. Now the question is, will you?" —River Atwood Tabor
Re:ACTION! (90 pp.) catalogs and satirizes the action-packed scenes we have watched evolve into a sort of American mythology of violence between the forces of good and evil. In these lyrical and narrative poems written collaboratively with Vincent Cellucci, we approach the well-worn subjects as general scenarios rather than trivializing them by name-dropping individual films. Titles include "briefcase full o' $$$," “firing gun at nothing while screaming,” "bomb countdown," "lone witness' incomprehensible last words," "torch the place & watch it burn," and "hanging from cliff // stepping on fingertips", and “human shield.” We think these tropes are very symptomatic of our escapist and violence-saturated culture. Contemporary social issues present in the manuscript include our national preoccupation with war and addiction, xenophobic villainizing of the "other," the presence of a police state, sexualized depictions of physical domination, and the persistence of reductive gender stereotypes in Hollywood blockbusters.
We believe this text will have a broader market base than other poetry publications since it appeals to pop cultural studies and film lovers everywhere. We are looking for a press to actively support this project and help us reach a wide audience.
the mother wart (70 pp.) is a book of prose poems loosely based around the tenets of the Church of Euthanasia, whose only commandment--for both ethical and practical reasons--is "thou shalt not breed." Looking beyond the movement's environmental and social goals, the mother wart delves into an autobiographical meditation on early memories and associations with motherhood, childbirth, infancy, and female sexuality, emphasizing the importance of early childhood trauma in the decision to abstain from having children of one's own. In its thick fog of sound play, close-set cycles of internal rhyme evoke a nursery rhyme starting to spin off-kilter, a grade-school chant turned violent and unpredictable. This is the version of the fairy tale in which the witch wins. But here, the witch is also mother, the origins of life transformed into a sign of virus (the wart). The grotesque, therefore, figures heavily throughout these poems, especially in the sense of Mary Russo's The Female Grotesque, which points out the pregnant female body constitutes the epitome of the human form as a site of volatile and irrepressible change--traversing that rare region between revulsion and attraction, in which the two at last appear not so opposed after all, but rather the respective poles of a dividing line that in fact comes full circle if followed far and fearlessly enough.