Magic Helicopter Press


by Carrie Lorig

$7 + shipping

Order nods.

7x8.5 | Saddlestitched | 48 pg
First edition: May 6th 2013, 120 numbered copies
Second edition: May 2013


“Essentially every line of Carrie Lorig’s interstellar nods. is a train made of skin absolutely Anna Karenina-ing all over you. If you are the fieldcrop we all need to keep our breath fresh, and you know you are, then please do rest all polka-dot-pj’s-assured of this: Lorig’s poems are sweet hail; are banjo locusts; are leather boomerangs bopping you where it matters. The poems hurt good. The poems pock; pock and puncture. You’ll end up feeling like a cricket caught in a wiffle ball by the gravy end. You’ll end up wasted on Lorig’s manna-lush-rush. You’ll end up cut then butterflied whole again. Powerful medicinewoman of the verses, Carrie Lorig is her very own planet, where the astronaut cows and them acrobat horses jitterbug, damn it.” — Abe Smith

Cover art by Evan Bryson


Carrie Lorig grew up in Wisconsin. She is the author of The Pulp vs. the Throne.


"c a t t l e h u r t e r" in NOÖ
"s c a t t e r s t a t e" in Red Lightbulbs
"s c a t t e r s t a t e" in Banago


"Carrie's poetry is excitingly playful. This book plays with form, surprising imagery/turns of phrase, & (ir)reverence." — Matthew Sherling at Cutty Spot


"Lorig's work is first-chapbook-energetic, bright and sensory, half letter-to-the-poets-lover, half kid-explaining-a-nightmare-to-her-mom. There are cattle and rodeos and lust, twinning a bit with the cattle and farms and births of Kristen Ston's Domestication Handbook." — Mairead Case at Bad at Sports

"Lorig's poems are the monsters most of us avoid breathing into. She is brave enough, cares enough, to sing in the color of their mouths." — Nick Sturm at Bright Stupid Confetti

"This book belongs to a dead ocean, washes over you with thousands of cattle hooves, which is to say you'll be surprised at how pumped you will feel when you finish one of the poems. The work is dense, but reliable in its own kind of unreliability. Ordinarily, I'd attribute unreliability as a bad trait for a speaker, but Lorig's speaker is so easy to love because of its density of language, because of its in-step repetition, because of its love-letter-blocks that kick open your human-heart-wishing-to-be-cattle-heart." — Nathan Kemp at DIAGRAM

"The language here is playful, sentence-considerate, and somehow Lorig manages to vary sentences over long-ish poems that sustain themselves on this language and on this variance." — C.J. Opperthauser at Mud Schematic

"Sometimes poets use sonic association to lead away from emotional resonance; here Lorig lets sound combinations lead her to new meanings and feelings. She finds new sound combinations and assigns extant feelings to them; she finds new feelings and assigns them extant sounds ... It seems crazy to call nods. a chapbook. It's a whole universe." — Lucy Biederman at Coldfront



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