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Nilima Krishna Jayaraman MD. coffee, “bubbly” and “still” water bottles, and pretzel sticks and peanuts. Needless to say, in our freshly orphaned state of mind​.
Table of contents

Through University purchases and generation donations from poets and collectors, this collection continues to grow. The collection consists of 20 linear feet of books on cowboy poetry, including press and self published works. The collection can be accessed through USU Libraries online catalog.


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The user agrees to indemnify and hold harmless the Utah State University Libraries, its officers, employees, and agents from and against all claims made by any person asserting that he or she is an owner of copyright. Originally created by a donation from the L. Recent acquisitions have come through university purchase or donations from poets and collectors.

Last revised by Randy Williams, February Archives West. Search digital objects only. Overview of the Collection Creator L.

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Title The Skaggs Foundation cowboy poetry collection Dates inclusive Arrangement Chronological by year. Acquisition Information Originally created by a donation from the L. Cowboys--Songs and music. Poets, American.

Pretzels Poems | Examples of Pretzels Poetry

Ranch life--Poetry. Geographical Names : West U. Joe Bob , Elliott Speer , Omar Squire Omar , A book of western verses Beggs, Wesley. Bickley, James T. Braley, Berton, Ball and photographs of Dean T. Kunz Ball, David J. Black, Baxter, Bush, T. Case, Bob.

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Duling, Mary R. Fleming Fleming, Glenn M. Fletcher, Curley, Lysius , Lisa Louise , Lynne Betty Lynne. Godfrey Godfrey, Max.

The New Hershey's Gold {Peanuts & Pretzels}

Harry H. Laura Vernon. Holling, Holling Clancy. Hunt Hunt, Charles E. Addie Viola , Hans Jacob. Being a woman who tends bar, or a woman doing restaurant work at all, is pretty fraught. People sexualize my role in their night almost constantly, while also belittling my knowledge of how to pilot their drink experience.

Men, especially a certain kind of business bro, get upset when I know more about whiskey than they do. I find all of those interactions hilarious and have to try not delight in the frustration of those kinds of men, who are used to being seen as authorities on anything they choose to engage with, regardless of their actual level of knowledge.

A bar menu truly undoes them. No matter how many women open bars or restaurants or dominate on the most recent season of Top Chef, no matter how many non-cis-men are actively and even visibly making your food and drinks, women in restaurants are seen as the flight attendant of the experience, whereas men are assumed to be flying the plane. I was a barista when drafting the earliest poems in the collection and I met my partner in that coffee shop. He was a regular before I even started, and became my friend because we both care really deeply about the pleasure of a beautiful meal, and also the level of effort it takes to make a stranger feel good in a room they have no personal attachment to.

Dining out is immersive theater. A lot of it is certainly gendered, but I care a lot about unpacking why that is. We were out for drinks, just as friends, celebrating the Publishers Weekly review of my first book, and we were talking about how delightful the language of a drink menu can be. It planted the seed for the book—that conversation, and also our private joke that everyone around us assumed we were on a date. LRK: How do you see this collection fitting into food and beverage literature?

Are you a reader of such literature yourself? EO: Oh, definitely! I read food and beverage literature a lot and I hope that my book lives well in that world. I was really excited when this book was coming together because it felt like something I could share with my friends in the industry, and not just people who already loved poetry. My regulars have bought my book from across my bar.

I try to do the same, and I think falling knife absolutely benefitted from that kind of omnivorous approach to books. More than half the books in my apartment are about food and drink—recipe books, histories, memoirs, theory—and I feel constantly surrounded by that kind of reading. My engagement with it is more of a kind of grazing than deep research, but I dip into those books every day to make me better at my job and also answer questions about how the things I consume came to be.

My partner has been in the industry even longer than I have, and he is an encyclopedia of this information. We both have pretty strong memories as far as compelling narratives go, and there are few narratives more compelling than how the human relationship to food has grown and refined itself over thousands of years.

There is so much complexity to stories about food, because food stories include the people who get left out of traditional histories. Food and drink are languages of home and community and connection, and I feel drawn to that as a replacement for the academic histories that focus primarily on conflict, conquest, and the maintenance of false borders. Is there a difference in the way you might choose to analyze those tastes? That line in the poem is more about how sure people are of what their taste telegraphs, when the picture they provide of themselves is way different to a stranger than it is in their own mind.

I always tell people who are anxious about ordering the wrong thing to just drink what they enjoy.

Funny Kids Poetry

If you want a vodka soda, good for you. Vodka sodas are delicious and refreshing. Ditto with food. Ordering a steak or martini can be a power move. Ordering a burger or beer feels more casual. Preferences are driven by familiarity and also optics. People ask for certain brand names because of the status associated with those brands via their ad campaigns. Alcohol as a business is mostly marketing.

EO: I have a lot of anxiety about not having formal training in making poems. A lot of my peers have MFAs. Official classrooms can be really scary, growth-stunting places when you already feel other somehow. I went to college, but my school had no grades, no majors, and no exams. I wrote so much in school, but even without having to adhere to a traditional academic structure, I struggled a lot. I was working full time. I was dealing with mental illness and self-medicating with drugs and alcohol. School made me feel like I was failing myself or my professors by not doing things the way I was expected to.


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    8. But I was trying so hard! I love my bar. I love making things with my hands that people take into themselves and then piss out and ask for more of. I love being an instrument in how other people alter their consciousness. People have very classist ideas of how smart you have to be or not be to want to work serving other people. People also have very classist ideas of who deserves to be an artist and also what being an artist needs to look like. There are all kinds of artificial barriers that exist to keep people from telling the truth about themselves.

    The poems are an act of pride in how I spend the majority of my life. Nobody needs to be taught to delight in the world they inhabit, in spite of all the awful parts. Joy sustains me.

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    Joy is transgressive. EO: I love Funyuns more than maybe any salt snack available.

    I love Jaegermeister and ginger beer. I still eat Top Ramen a lot, which is mostly about the salt.

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    I love salt so fucking much. Garlic bagel chips are the jam. So are cinnamon raisin ones, but I can never find them in grocery stores in New England and have to bring them back for myself when I visit family in New Jersey. Salt and vinegar chips, always. Peanut butter pretzels. Ruffles dipped in plain sour cream or dragged through a brick of cream cheese.