fox woman get out!

India Lena González is a poet, editor, and artist. She graduated magna cum laude from Columbia University (BA) and received her MFA from NYU’s Creative Writing program. While at NYU she served as a writing instructor for undergraduates and received a Writers in the Public Schools fellowship enabling her to teach literature to middle school students via Teachers & Writers Collaborative. Her work is published in American Chordata, The Brooklyn Review, Lampblack, PANK, Pigeon Pages, and Poets & Writers Magazine, among others. A three-time National Poetry Series finalist, India is also a professionally trained dancer, choreographer, and actor. fox woman get out! is her debut poetry collection. She lives in Harlem.

“India Lena González’s debut is made of exhilarating bodylanguage. Her serpentine stanzas, upper- and lowercase characters, and bold exclamations movelike Bill T. Jones dancing to Keith Haring’s brushstrokes, like Alvin Ailey dancing tolines of June Jordan, like The Woman Warrior dancingwith Sister Outsider. Joan Didion once said, ‘Style is character.’ González’s virtuosic style reveals not only depth of character, itreveals depth of spirit. Her poems are made of capacious, irreducible energy. fox woman get out! is unforgettable.” — Terrance Hayes, author of American Sonnets for My Past andFuture Assassin“What a sparkling debut! These exuberant lyrics ransack theseemingly fixed boundaries of racial hierarchies and labels, holding space fora transcendent, ever-singing, new voice. By turns playful, heartbroken, andsearching, these poems abound with technical virtuosity, exulting in themysteries of heritage, home, and hope." — KikiPetrosino, author of White Blood: a Lyric of Virginia“González’s spectacular debut is a pageant of ancestralroot-digging, ego-tripping, interspecies shape-shifting, straight talk, tall talk,talking with the dead, and talking back to ‘the gold-toothed hag that isamerica.’ She writes as a parda—one of ‘the mixed bloods whose ancestry couldalmost never be accurately described’ (or, as she later puts it, ‘thepeople-with-too-many-ancestors-inside-of-us’)—and also as a twin, challengingcultural assumptions about identity and individuality just by being who she is.While it would be wrong to suggest that González’s dynamic fusion and fissionof personhood isn’t also marked with longing (‘i would like to know where toplace myself’) and pain (‘will you please just skin me already / like one ofthem foxes’), what it manifests as is an extravaganza of poetic language,political critique, bursts of bardolatry and modern dance and speculative folklore,all presented in exquisite, mercurial hybrid forms. This is a work of greaturgency, brilliance and valor, and it’s guaranteed to leave ‘the pink of yourbrain a throb.’” — Timothy Donnelly,author of Chariot