Zefyr Lisowski also goes by Zef and is a queer poet, artist, and Southern transplant currently based in New York. She's a poetry co-editor for Apogee Journal, an instructor at Hunter College, and is also author of the microchapbook Wolf Inventory (Ghost City Press, 2018). Zef's received support from the Tin House Summer Workshop, the New York Live Arts Fest, and Sundress Academy for the Arts, among other places; her work has appeared in Muzzle Magazine, DIAGRAM, Entropy, The Texas Review, and elsewhere. Zef's a 2018 Pushcart nominee; her chapbook Blood Box is forthcoming from Black Lawrence Press.

Books by Zefyr Lisowski:

Other poems on the web by Zefyr Lisowski:
Four poems
"Girl Work"
Five poems
"A Woman Is Like A Thick Fog. Stranded Landmass. Tangled Waistband. Not To Be Trusted"
"Sunday Mass, 1891"
Two poems
"Oral Phrase"
Three poems
"Girl Work"

Zefyr Lisowski's Website.

Zefyr Lisowski on Twitter.

About Blood Box:

"If it is possible to queer a murder, Lisowski does it here, wearing the persona mask of Lizzie Borden, the familiar familicidal subject of too many jokes and skipping rhymes. Swinging non-chronologically from branch to blood-stained branch through the convoluted and uncertain history of the Borden murders, Lisowski discovers a kind of friend in Lizzie. These poems, sometimes quiet and demure, sometimes sung confession, sometimes full of hot desire. Each poem a pear, uniquely flavored, hanging barely from a tree in the balmy wet air of a New England summer. Inventive, sexy, self-aware to an almost dangerous degree, Lisowski applies layer after layer of powder foundation, demanding: 'Look at me: I wear / my suffering on my skin. I wear my skin / on top of my other skin.'"
—Chase Berggrun

"Zefyr Lisowski's BLOOD BOX fearlessly excavates the secret and multiple lives (longings and regrets) of Lizzie Borden and her family. Mysterious and evocative, terrifying and tender, this is a powerful voice singing praise and elegy within the same breath, pressing against the world's constraints to dream flight."
—Ching-In Chen

"Dealing in secrets, Zefyr Lisowski's BLOOD BOX stands at the threshold of a violent domestic silence. Unknowability generates a hybrid text of multiple methodologies, all of which circle around its empty center. Lisowski writes, 'The God I know / lives behind a locked door, and only hoards / His good things. If He has children, / He beats them without fail. If He has neighbors, / He chops apart their houses. Tell me, / who wouldn't believe.' The fear that characterizes coloniality haunts the Borden family, trapping them in a labyrinthian coffin, where death generates death in a way that is neither spectacular nor foreign. The brilliance of this text lies in its guilty blood, housed in grayscape littered with the familial."
—Raquel Salas Rivera,