Ariana Reines

The award-winning poet reckons with feminine archetypes, erotic love, and the shifting boundary between power and surrender Fury is very lustful A body concealing its heart's desire Has a certain texture A tang or an edge if you will That the openhearted cannot match & when exactly does the deceitful Heart open? At climax. -from 'The Hanged Man' The Rose navigates the intersection of power and surrender. Drawing on the history of 'romance' as the troubadours knew it, and the titular flower's ancient allegories for sexuality and mystery, award-winning poet Ariana Reines plunges into feminine archetypes to explore masculine pain: 'I have always liked helpless / & terrible men because they break my mind.' In these poems, inherited ideologies of gender performance are replaced with bold vulnerability: paradoxes of power and surrender transmute the speaker's understanding of suffering, desire, and the soul. The voice in The Rose is wry and bare, approaching the connection between erotic love and spirituality with humour. Investigating war, maternity, violent sensuality, and the role of language in magical acts, Reines is unafraid to uncover the 'secret / & terrible shovelings / Of love,' and the result is a bloody and pulsing, sexy and unabashed bloom.

A theoretical dissection of capitalism's ultimate form of merchandise: the living spectacle of the Young-Girl. The Young-Girl is not always young; more and more frequently, she is not even female. She is the figure of total integration in a disintegrating social totality. -from Theory of the Young-Girl First published in France in 1999, Preliminary Materials for a Theory of the Young-Girl dissects the impossibility of love under Empire. The Young-Girl is consumer society's total product and model citizen: whatever "type" of Young-Girl she may embody, whether by whim or concerted performance, she can only seduce by consuming. Filled with the language of French women's magazines, rooted in Proust's figure of Albertine and the amusing misery of (teenage) romance in Witold Gombrowicz's Ferdydurke, and informed by Pierre Klossowski's notion of "living currency" and libidinal economy, Preliminary Materials for a Theory of the Young-Girl diagnoses-and makes visible-a phenomenon that is so ubiquitous as to have become transparent. In the years since the book's first publication in French, the worlds of fashion, shopping, seduction plans, makeover projects, and eating disorders have moved beyond the comparatively tame domain of paper magazines into the perpetual accessibility of Internet culture. Here the Young-Girl can seek her own reflection in corporate universals and social media exchanges of "personalities" within the impersonal realm of the marketplace. Tracing consumer society's colonization of youth and sexuality through the Young-Girl's "freedom" (in magazine terms) to do whatever she wants with her body, Tiqqun exposes the rapaciously competitive and psychically ruinous landscape of modern love.