the new gods is available from Bottlecap Press!
Praise for the new gods:
The poems that populate the new gods are blood and birth and grit under the fingernails, “fine sand between [the] teeth.” they refashion creation in their own image and it’s glorious (“i form adam from a loose molar / they become a saint in my mouth”). the singular voice becomes a collective voice for nonbinary people and all of us seeking to shed the skin of societal labels and the shame we’ve worn too long (“like metal against hair & flesh”). they throw off the shackles of convention, societal or poetic, singing clearly and without fetters “i … became my true self.” these small songs are powerful, cut to the quick, become their own trigger/warnings. Caseyrenée Lopez is unafraid to speak the truth beneath the veil. these poems will “eat the parts of you that you hate” and then transform again and again, into “something repugnant, / yet beautiful, some thing / that remains nameless” – for it is in that namelessness, without labels, that true freedom is found.—Jennifer Givhan, author of Landscape with Headless Mama & Protection Spell
Caseyrenée Lopez has written a haunting landscape, from which you can’t look away. It is a landscape of the interior made available to all of us, to our eyes, our ideas, our predispositions. All of your judgement be damned. the new gods is a learning moment. There is the intense questioning of our programmed binaries set alongside blooming language that begs you to look closer, listen deeper. In “elegy to my former self” Lopez offers us an incantation: of transformation, of self-acceptance, of brutal honesty in the pursuit of strength and freedom. To be bigger than any bullshit we’ve been told we have to be, have to look like, have to say. This is a book that examines what it means to be made invisible, but it is anything but invisible. This book sees you, and it begs you to see it.—Lisa Marie Basile, editor of Luna Luna Magazine
As Caseyrenée Lopez states, “living is binary,” and the new gods approaches all aspects of that notion. It examines both this side and the other along with the merging, meshing and in-betweenness of life within one bodies as we identify oneself and as one is identified. The gaze itself is on display to be seen and splayed open for examination. Lopez’s keen eye, ferries one through life and maybe beyond. In fact, “maybe i should tell you that i’m charon in disguise.”—Kenyatta JP Garcia, author of Slow Living