One of the open secrets of Canadian poetry is the number of women poets who are stop-the-presses funny in their explorations of contemporary womanhood. Jeanette Lynes, Sue Goyette, Adeena Karasick, Catherine Hunter…. I’m making a list, and Susan Holbrook’s at the top. While the various cultural reasons for this accruing of poetic gender comedy deserve a great deal of discussion, suffice to say that Holbrook’s follow-up to the comic linguistic accidents of misled (1999) feeds the feminist- comic fire with its cheeky-serious, sexy-goofy language games. Take the title.
