Reading Who Loves At All felt like cheating on my husband. At first, innocent—what, me?—but before I knew it, I was hurtling towards irredeemability. I was on my knees, I was wrestling with T, I was murdering someone’s father. I was trapped of my own accord in the intensity of Briggs’ poetic world-making. Briggs’ voice is exquisite, seductive and penetrating. This book is hot, hot, hot and unbearably bothered.
This is poetry that transcends politics that govern bodies and eroticism. Aesthetics of intimacy and familial bondage are cut open like an imaginary, mythic fruit, left to dry on mirrors and bedsheets. Briggs’ voice is so taut you can feel the touch of lovers that live in this book; you can taste the bloods of births and deaths; you can swim in the raw desire that travels through time, distance and consciousness. An intuitive and impassioned portrait of the nuances of departures, pleasures and dreams. This is a delicious and charming collection from one of the most authentic poets of our time.
Natalie Briggs is the author of the self-published chapbooks the burial is polite (2014), and i was kneeling in her (2017). Natalie’s poems have appeared occasionally on the web and in print, in places such as Verge, Lor Journal, and PANK. Natalie is a white, so-called Australian-American.