TSky Press author Jenny Boully (one love affair*, not merely because of the unknown that was stalking toward them) is interviewed by Erin Lyndal Martin at Coldfront Magazine. Says Boully, “Make-believe does not last forever, the page says. There is something waiting to replace, to consume, to lay a cloak over the days of play and make-believe. The dreaming life will be eradicated. Wendy grows up and dies. A love story does not develop. Death and decay await. The playroom is revealed as a crypt, the love bed a coffin….”
Jenny Boully is the author of of two Tarpaulin Sky titles, [one love affair]* and not merely because of the unknown that was stalking toward them, as well as of the mismatched teacups, of the single-serving spoon (Coconut Books), The Book of Beginnings and Endings (Sarabande Books), and The Body: An Essay (Essay Press, first published by Slope Editions). Her chapbook of prose, Moveable Types, was released by Noemi Press. Her work has been anthologized in The Best American Poetry, The Next American Essay, Great American Prose Poems: From Poe to the Present, and other places. Born in Thailand, Jenny was reared in Texas by parents who farm and fish. She attended Hollins University, where she double majored in English and philosophy and then went on to earn her MA in English Criticism and Writing. At the University of Notre Dame, she earned an MFA with a poetry concentration. She earned a Ph.D. in English from the Graduate Center of the City University of New York. Jenny lives in Chicago, Illinois with her husband and daughter and teaches at Columbia College Chicago.
6″x8″, 80pp., paperback
$14 includes shipping in the US
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In not merely because of the unknown that was stalking toward them, Jenny Boully presents us with a “deliciously creepy” swan song from Wendy Darling to Peter Pan.
“scary, sexual, and intellectually disarming” (Seth Abramson, Huffington Post); “a fresh, imaginative look at a tale as ageless as Peter himself” (Micah McCrary, Bookslut); “Jenny Boully is a deeply weird writer—in the best way” (Ander Monson)
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5″x7″, 76 pp, pbk, 2006
$12 includes shipping in the U.S.
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Winner of “Best Book-Length Poem” from Coldfront Magazine
[one love affair]* meditates on mud daubers, Duras, and the deaths of mentally ill and drug-addicted lovers, blurring fiction, essay, and memoir in an extended prose poem that is as much a study of how we read as it is a treatise on the language of love affairs. As with Jenny Boully’s debut, The Body (Slope Editions, 2002), [one love affair]* is full of gaps and fissures and “seduces its reader by drawing unexpected but felicitous linkages between disparate citations from the history of literature,” a work that is “filled with the exegetical projection of our own imagination” (Christian Bök, Maisonneuve).
“A genre-bending back-pocket book…. Gritty and intellectual….You’re reading the book for second, third, and fourth time” (John Deming, Coldfront); “Jenny Boully’s sentences are a joy in and of themselves” (Rattle); “I highly recommend it, especially if you’re looking for a way into the ‘trans-genre’ of prose poetry” (Elisa Gabbert, Open Letters Monthly); “leaves us wanting more, more, always more Boully” (Catherine Paquette, Matrix); “Jenny Boully has not only written the speaker’s one love affair, she has written our collective love affair” (Michael Rerick, CutBank Poetry); “sharp and well-made” (Teresa Carmody, The Constant Critic).
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At PANK Magazine, Helen McClory reviews Jenny Boully’s *not merely because of the unknown that was stalking toward them* (Tarpaulin Sky Press, 2011): “In this prose-poem hybrid, the texts of Peter Pan have been enmeshed, re-corded, and spun into a thickness of sensual detail and slippery cross-reference. Under Boully’s fingertips, Neverland has burst open like a sodden swollen root, spilling out cutlery, birds, bearskins, thimbles, peas, open windows, mermaid scales, pubic hair, damp pirate beards, and fairy dust, of course….”
Jenny Boully’s *not merely because of the unknown that was stalking toward them* is reviewed at Devil’s Lake: “Peter and Wendy is [J.M.] Barrie’s novelization of a stage play, originally intended for adults but significantly altered for a child audience. The later Disney adaptation, Peter Pan, bears only a passing resemblance to the original story. Boully’s book retells the tale through the lens of memory, bringing the subtext of sexual and adulthood anxieties into the foreground. Tiger Lily, who competes for Peter’s attentions in the source text, is here even more overtly sexual, ‘her thong all encrusted with the little shells from the seashore…she doesn’t shave her pubes, and they’re all sticking out and out.’”
Jenny Boully’s *not merely because of the unknown*, says TaraShea Nesbit at The Iowa Review, is a “delightful extension of what readers already know about Peter and Wendy, but it’s also much more than an extension. The work pushes form, language, narrative, theme, and point of view….”
At Jacket2, Amy Wright reviews Jenny Boully’s *not merely because of the unknown that was stalking toward them*: “[Boully’s book] contributes so rich a reading to Barrie’s text it should be assigned as a prep course for adolescents loosing the anemones inside their chests and a refresher course for fortysomethings who have forgotten the point.”
Huffington Post and Lantern Review praise Jenny Boully’s *not merely because of the unknown that was stalking toward them* (Tarpaulin Sky Press, 2011): “Boully has captured the darkness of Barrie’s text, and in elevating its inter- and sub-textualities to the level of discourse she illuminates and reinvigorates her source material without sacrificing any of its creepiness, wonder, or violence. Simultaneously metaphysical and visceral, these addresses from Wendy to Peter in lyric prose are scary, sexual, and intellectually disarming.”
DIAGRAM reviews Jenny Boully’s *not merely because of the unknown that was stalking toward them*: “Conventions are being uprooted, turned upside down. Boully establishes complex characters inconsistent in their observations, unfaithful in their desires, untraceable in their animation, unknowable in their thoughts.”
At HTML Giant, Kristin Sanders provides a brilliant and fun review of Jenny Boully’s not merely because of the unknown that was stalking toward them (Tarpaulin Sky, 2011): “[not merely] offers more questions than answers. Who are the Lost Boys, really, and why are they clothed in bearsuits? What’s the history between Peter and Mrs. Darling? How many other little girls did Peter whisk off to Neverland? How does one properly dispose of Never poo? About Tinkerbell, Boully wonders: “where ever will we get such small medical supplies for you? The Tinker dental dam; the Tinker tampon.”
Jenny Boully’s *not merely because of the unknown that was stalking toward them* (Tarpaulin Sky Press, 2011) is reviewed by Karen Hannah at Open Letters Monthly: “Jenny Boully imagines characters escaping the fate of becoming a character and lifts the veil of their narrative to reveal the unknown that is ever urging one to become something other. Boully shows us that even developed characters can still question who they want to become—that choice still exists within the margins of a proper name. Boully continually explores how self is both a home that we bury deep within ourselves but are also in relentless pursuit to dig up. A beast of our own making, character is made up of what one does not know about oneself or one’s relationships with others.”
At Bookslut, Micah McCrary reviews Jenny Boully’s *not merely because of the unknown that was stalking toward them* (Tarpaulin Sky Press, 2011): “[T]o delve into Boully’s work is to dive with faith from the plank — to jump, with hope and belief and a wish to see what the author has given us: a fresh, imaginative look at a tale as ageless as Peter himself.”
Featuring work by Jenny Boully, Julie Carr, Mark Cunningham, William E. Dudley, Jamey Dunham, kari edwards, Michael Gottlieb, Sojourner Hodges, Jason Huntzinger, Louis Jenkins, Jake Kennedy, Jeffrey Levine, Norman Lock, Thorpe Moeckel, Eugene Ostashevsky, Matthew Shindell, Sarah Sonner, Jane Sprague, and John Warner.