Kendra DeColo
Photo Courtesy of Lindsey Rome, Photographer

Kendra DeColo is the author of I Am Not Trying to Hide My Hungers from the World (BOA Editions, 2021), My Dinner with Ron Jeremy (Third Man Books, 2016) and Thieves in the Afterlife (Saturnalia Books, 2014), selected by Yusef Komunyakaa for the 2013 Saturnalia Books Poetry Prize. She is a recipient of a 2019 Poetry Fellowship from the National Endowment for the Arts and has received awards and fellowships from the MacDowell Colony, the Bread Loaf Writers’ Conference, the Millay Colony, Split this Rock, and the Tennessee Arts Commission. Her poems and essays have appeared in American Poetry Review, Tin House Magazine, Waxwing, Los Angeles Review, Bitch Magazine, VIDA, and elsewhere. She teaches at the Hugo House and she lives in Nashville, Tennessee.

Further Reading
Low Budget Movie
June 2021

Low Budget Movie weaves together the voices of two contemporary poets into a singular persona who sings about vintage guitars, movie props, Dunkin' Donuts, misogyny, the male gaze, low budget movies, and the unexpected glitter caught in the cracks of it all.


Low Budget Movie has  all the heart and character of an indie with the glitz, glitter, and  feathers of a blockbuster. Through urgent directives and flexible stanzas, Mills and DeColo bankroll the pleasures and dangers of  cultural desires for luxury items, for bodies, for possession above all  things. Beneath the theater of American life—beyond the shimmer of the  Big Screen and the smear of eggshell paint—lies a culture of violence.  These poems turn our attention toward it, with sparkling, precise  language and an emotional honesty that brings the heart to the throat.”

— Traci Brimhall, author of Come the Slumberless To the Land of Nod & Brynn Saito, author of Power Made Us Swoon & collaborative authors of Bright Power, Dark Peace

“Low Budget Movie asks  us what it costs to be a woman on the screen of late-stage capitalism,  ‘when a man says you’d look better in something / tight.’ What’s the  price we pay for living in a female body? Who gets to write, watch, and  record the narrative? Caustic and sharp, these poems demand that we  interrogate America’s brutal tendency to turn womanhood into a prop by  reclaiming the script. ‘Let’s publish the screen in dollar bills, act  crazy, and quit,’ the collection proposes, as it deftly recasts both the  movie and the gaze. Cunning and unapologetic, DeColo and Mills’ poems  entreat readers ‘to penetrate / and retrieve what they didn’t know / had  been lost.’”

— Susannah Nevison, author of Lethal Theater & Molly McCully Brown, author of Places I’ve Taken My Body & collaborative authors of In the Field Between Us

“A full cast of glittering prop mistresses, fortunetellers  & donut shop cashiers. Complicated heroines who narrate the lives of  women with antic clarity set against the stark reality of everyday  misogyny: ‘Must. not. make. eye. contact. with. / the. mail. man. lest.  he. think. / I. am. dying. for. a. fuck.’ Sets staged with the mise-en-scène of  everyday life: scratch-off lottery tickets, silver-handled  refrigerators, the leather pants of an asshole boyfriend in a bad band.  DeColo and Mills are two old-school auteurs with a vision and a  million-dollar budget to burn. Here’s your ticket. Grab a seat. It’s a  double feature.”

— Ryan Teitman, author of Litany for the City & Marcus Wicker, author of Silencer