Katie Longofono is the author of Angeltits (Sundress Publications, 2016). Her poems traverse between intimate and breathtakingly visceral imagery, between narratives on the body and the objectification of bodies, into a lyrical testament and commentary on sex and modern-age relationships.
Longofono spoke with our editorial intern Brianna McNish to discuss her literary inspirations, her writing process, and the influences that helped create the poems in Angeltits.
Brianna McNish: What were your biggest literary inspirations while writing Angeltits, and why?
Katie Longofono: As I recall, I was reading a lot of essays and fiction at the time I was working on these poems. I had just finished my MFA, so I guess that was my rebellion from soaking in poems pretty much exclusively for two years. Specifically, I think I was re-reading Mary Reufle’s Madness, Rack, and Honey, which has some great thoughts on sentiment which stuck with me. I was (and remain) super into being overly sentimental, or obvious, on purpose, in poetry. I’m the kind of weirdo who thinks it’s fun to see how many times I can say “very” in a poem without inducing gagging (or maybe in order to). I played with that idea a lot in these poems, I think.
I also was very inspired by Plath’s journals, which most people would be able to point to immediately. Lots of anger at men, etc. You know the drill!
BM: What left me in awe about your poems was how your fixation on bodies creates beautifully visceral language. What does the body represent in your poetry, and why do you use it as a common motif in your work?
KL: I guess this might be a disappointing answer, but really the body represents… the body. These are all poems that are pretty explicitly about sex. Sometimes it’s joyful, but now that I’m looking at it, yeah, these are poems about the ways a body can be in pain, the ways a body can let itself be hurt, the ways sex reveals the bodies’ soft spots and the aftermath of that vulnerability. I’ve always been fixated on the body in my work. I’ve written ecstatic body poems in the past, but for this collection, the central idea was objectification—hence the title, Angeltits—because so often women are reduced to their bodies. Fine, dudes, you wanna play that game? I’m gonna lean into it, then. Here’s an entire book about tits. It’s not sexy. You’re welcome.
BM: How would you describe your writing process?
KL: It’s definitely a cycle—I’m not one of those people who can sit down and write every day. I have, for short bursts of time, been able to force myself into that routine, but mostly I just try to remain aware of when I feel ideas forming and allowing myself a moment to write them out. I was lucky to have a pretty low-pressure job at the time I was working on Angeltits so I could easily switch into writing mode for the amount of time it took me to at least jot something down.
BM: What’s also striking about your chapbook is how the poems develop from “Who can fault me for loving / the fault, for tonguing the crack / we crumble within?” in “Dollface” to “I am not a bird or a symbol. / I am a woman burning,” in “We Grind Ourselves Out”. The poems unravel in a linear fashion with effortless transitions from the next poem to the next, which leaves me curious about how you would describe the development of the women who inhabit these poems from “The Outline” to “[When a man says no]”?
KL: Well, people are complicated. It’s amazing and weird that a person can hold defiance, rage, and two middle fingers inside the same body that also holds shame, loneliness, and hurt. It’s really difficult to capture all of that in one poem, let alone one book, so this was my attempt at trying to get all of those angles. A big part of this series was thinking about how (personally) I often feel victimized because of my body, but not like a victim—I really resent that label. That comes out in these poems—there’s a lot of anger here, a lot being challenged because I think it’s reductive to put people into boxes.
BM: What is the best piece of advice you have received as a writer?
I’ve received a lot of helpful advice over the years, so this is hard to narrow down—but what comes to mind is early on somebody told me, at the end of the day, you get to call the shots. You can (and should) listen to advice, tips, workshopping comments, whatever, but you don’t have to use it all. It’s your writing and your process. It was really helpful for me to basically be given permission to ignore advice if I didn’t think it was coming from a useful place for my writing.
KL: If you could describe yourself as a poem, which poem would you be?
A dirty limerick. I think this question was probably meant for a specific poem but I don’t feel justified in comparing myself to any of the poems I admire!
Katie Longofono’s Angeltits is available as an e-chapbook on Sundress Publication’s website here.
Katie Longofono received her MFA in poetry from Sarah Lawrence College, where she directed the 2014 SLC Poetry Festival. She is the co-founder of Dead Rabbits Reading Series, a monthly literary salon that takes place in NYC. Her first chapbook, The Angel of Sex, was published by Dancing Girl Press in 2013. She has a chapbook forthcoming from Sundress Publications titled Angeltits. Her work has appeared in or is forthcoming from Tinderbox Poetry Journal, South Dakota Review, Juked, Midwestern Gothic, and more. She may or may not be on Twitter. She lives in Brooklyn.
Brianna McNish is an undergraduate student studying English and literature at the University of Connecticut. Her fiction has previously appeared in or forthcoming in Literary Orphans, Juked, Unbroken, among others.