CUNTRY (Trembling Pillow Press, 2017)
Selected as a finalist for the 2015 National Poetry Series. Buy CUNTRY here.
Reviewed by Carrie Chappell at Fanzine, by Jennifer MacBain-Stephens at Agape Editions, and by ava hofmann at New Delta Review.
Interviewed by Vi Khi Nao at Entropy Magazine, rob mclennan at at 12 or 20 Questions, and on Episode 9 of No Good Poetry Podcast.
Myriam Gurba on CUNTRY and Elizabeth Hall's book, I Have Devoted My Life To The Clitoris.
Review of "I Learned To Be A Woman From A Nineties Country Song" and excerpts from CUNTRY (published in TENDERLOIN) by Megan Burns.
"A CUNTRY girl chases her American dream the wrong direction, from California to Tennessee, and reveals how she is simultaneously made, turned on and damaged by the heteronormative wreckage on display in country music lyrics and porn. In these wall-to-wall poems about voyeurism, sexuality and consent in the Internet age, Kristin Sanders 'look[s] back at a man / looking back at the woman' and also back, directly, into the gaze of the gaping reader, putting on display for us the conundrums and complexities around how the feminine self 'learn[s] young how to man the automatic grief machine.' CUNTRY is a burning ring of fire. Fall into it."
"Sanders writes pornographic poetry with a twang. Like the best genitals, it drawls, drools, hollers, and hides. If Anne Carson’s cunt sang, it would weep duets at the moon with this book."
"CUNTRY is an elegant excavation of Sanders’s twinned obsession with pornography and country music. Effortlessly slipping between poetry, memoir, and music criticism, Sanders disrobes the country song of the 90s and uses it as a lens to expose our culture’s sanitized images of femininity. CUNTRY not only skewers the objectifying nature of pop culture but also explores the pleasures of objectification, of 'lingering in the gaze.' It is a story about how the very desires that make us also undo us. Which is to say, it is a story about failure. Also: singing. The necessity of talking back to the song, the book, or the film because, as Sanders reminds us, 'the desire of the cunt is always left out except where I write it in.'"