ADVANCE PRAISE for WAS BODY (Indolent Books, 2020):
Reading Was Body provided a jolt I didn’t realize I needed. Using tropes of iteration and erasure, medical mythologies, nude portraiture, phantasmagoria, and “theme and variation” on phrases ranging from “cellar door” to “lighter fluid,” Billie R. Tadros bewitches us with language’s associative properties. Fun House Mirror Sonnets? Here. The emotional semantics of Hollandaise sauce? Here. These are poems of loss and reckoning; yet these nimble poems also claim life, in tooth and claw, and the possibilities of love. “A ferris wheel spelling/appellations,” a speaker observes, “bulb color.” I’m grateful to take the ride.
— Sandra Beasley, author of Count the Waves
Billie R. Tadros is an Assistant Professor in the Department of English and Theatre at the University of Scranton. She earned her Ph.D. in English from the University of Louisiana at Lafayette and her M.F.A. in Writing from Sarah Lawrence College, and she is a graduate of the Writers Institute at Susquehanna University. She is the author of three books of poems, Graft Fixation (forthcoming from Gold Wake Press, 2021), Was Body (forthcoming from Indolent Books, 2020) and The Tree We Planted and Buried You In (Otis Books, 2018), and three chapbooks, Am/Are I (forthcoming from Francis House Publishing), inter: burial places (Porkbelly Press, 2016), and Containers (Dancing Girl Press, 2014). Her work has appeared, or will appear, in The Boiler, Black Warrior Review, Bone Bouquet, The Collapsar, Crab Fat Magazine, Entropy, Fairy Tale Review, Gigantic Sequins, Glass: A Journal of Poetry, Horse Less Review, Kindred, Lavender Review, Menacing Hedge, No Tokens, phoebe, pnk prl, r.kv.r.y., Tupelo Quarterly, White Stag Journal, Wicked Alice, Word Riot, and others, and in the anthologies Bearers of Distance (Eastern Point Press, 2013), Women Write Resistance: Poets Resist Gender Violence (Hyacinth Girl Press, 2013), and The Queer South (Sibling Rivalry Press, 2014).
She is currently working on a narrative research project exploring the gendered implications of traumatic injuries to self-identified women runners, and seeking to articulate a feminist injury poetics.
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