Brandi Homan reviews I’M THE MAN WHO LOVES YOU in The Cutbank Review today (an excerpt):
Even though King does something that there should be more of in contemporary poetry—addresses the sociopolitical aspects of life in the 21st century head on—I’m The Man Who Loves You accomplishes much more. It is disjointed, beautifully grotesque, and unsparing, yet it is ultimately hopeful, kind, and entertaining. In “I Used to Be Amy King,” King says, “…we are bred to be the best neglected fun, forthcoming” (32). Believe you me, King is this type of fun. I’m The Man Who Loves You is not to be neglected. This book is for anyone who has ever stepped into, or wanted to step into, their own “long black dream.”
And Caroline Wilkinson reviews KISS ME WITH THE MOUTH OF YOUR COUNTRY over at Tarpaulin Sky (an excerpt):
Kiss Me with the Mouth of Your Country is a potent work not only artistically but politically, more so than King’s earlier poetry. Instead of loaded words, we get moments that bring us into a body where the borders shift. In this “country,” the “I” and “you” suddenly change because the line between the two keeps moving. The borders here are insecure because they are defended by private, piecemeal methods—“a pile of ash / that blows back into you.” This “country” is the body of a woman, and it stubbornly remains in quotes because it is a permeable thing, especially when trapped inside the home. Laws about rape and incest, ineffectual in practice, help keep it that way, as does the sexist culture. As a country, this body looks real enough, but because its borders don’t mean a great deal, it isn’t. Near the end of the chapbook, King returns to her earlier more cerebral style, turning images at a manic rate, but this idea of the body and its borders lingers. The poetry is haunted by it, like a house haunted by the idea of not being there.