Karyna McGlynn earned her BA from Seattle University and holds an MFA from the University of Michigan, where she received the Zell Postgraduate Fellowship in Poetry and a Hopwood Award. She is the author of two chapbooks: Scorpionica (New Michigan Press, 2007) and Alabama Steve (Destructible Heart Press, 2008). Her poems have appeared in Fence, Gulf Coast, Willow Springs, Indiana Review, Denver Quarterly, CutBank, and Ninth Letter. She lives in Austin, Texas, with multimedia artist Adam Theriault.

Other poems by Karyna McGlynn in Verse Daily:

February 16, 2008:   "Before Anything Happened the House Had No Skeleton" "the termites had deboned the thing..."

Books by Karyna McGlynn:

Other poems on the web by Karyna McGlynn:
"Erin with the Feathered Hair"
Three poems
"The Camp River Poems"
Five poems
Two poems
Two poems
Three poems
"Cleopatra 365"
Four poems
Three poems
"Amanda at 4"
"For Colleen Found On Sunday"
"Snap-Button Lock"
Four poems
"How to Delicately Detect I Lied About the Dosing"
"Cypress Point"
"Emmett and the White Boy"
"Yellow Coffee Cup"
"Renaming the Bridesmaids"
Two poems
"Deep Eddy"

Karyna McGlynn's Website.

Karyna McGlynn According to Wikipedia.

About I Have to Go Back to 1994 and Kill a Girl:

"In an era of too much noisy straining after novelty, it's flat out enchanting to encounter an authentically original voice. Karyna McGlynn is the real thing, sui generis. And her poems proceed from an apparently inexhaustible fund of imagination: savvy and serious, straight-arrow and subversive, calibrated to the finest, freshest, idiomatic pitch. When I read McGlynn, I'm convinced I'm hearing news from the future of poetry."
—Linda Gregerson

"Like the multi-faced, clairvoyant speaker of I Have to Go Back to 1994 and Kill a Girl, who is both breathing and buried, so McGlynn's poetic eyes are split: one serves as photographer, while the other acts as profiler. For her, every innocuous object has an ominous counterpoint: the bed as operating table; a farmhouse for eggs as killing site; panties as childhood emblem and crime-scene evidence. But, while her book documents various defacements and violations, ultimately the work highlights volition and reconstruction. McGlynn's poems exhibit such spark and voracity they feel channeled instead of penned; and though they may knock us slant into the pitch, they are lit with luminol, liberating what is hidden, and in the process, illuminating and transforming us."
—Simone Muench

"I Have to Go Back to 1994 and Kill a Girl is a remarkable book. It is innovative, original, unprecedented, and, at the same time, its originality and innovation are predicated on a passionate, even obsessive relationship with the past. . . . To be a reader of I Have to Go Back to 1994 and Kill a Girl is to be a time traveler. Yet, no matter which life, body, or landscape one lands in, all exist on a shared bedrock of violence and suffering, albeit one presided over by a glittering imagination."
—Lynn Emanuel