Patricia Lockwood

In 2011, Lockwood joined Twitter and drew attention there for her comedy and poetics, including the ironic "sext" form she originated,[9] her association with the Weird Twitter movement,[10] and her devoted following. The Atlantic named Lockwood to its list of "The Best Tweets of All Time", where she was the only author included twice.[11] In response to Lockwood's popular tweet ".@parisreview So is paris any good or not," The Paris Review has twice issued reviews of Paris.[12][13]

In 2012, small press Octopus Books published Lockwood's first poetry collection, Balloon Pop Outlaw Black. The Chicago Tribune praised the work for its "savage intelligence."[14] The collection was included in end-of-year lists by The New Yorker[15] and Pitchfork[16] and became one of the best-selling indie poetry titles of all time.[8] Its cover features original artwork by cartoonist Lisa Hanawalt.[17]

In July 2013, general interest website The Awl published Lockwood's prose poem "Rape Joke,"[18] which quickly became a viral sensation. The poem develops a personal experience Lockwood had at age 19 into a broader commentary on rape culture.[2] The Guardian wrote that the poem "casually reawakened a generation's interest in poetry."[19] The Poetry Foundation declared the poem "world famous."[20] The poem was selected for the 2014 edition of The Best American Poetry series and won a Pushcart Prize.[21]

In 2014, Penguin Books published Lockwood's second poetry collection, Motherland Fatherland Homelandsexuals. The book's cover features more original artwork by Hanawalt. The New York Times critic Dwight Garner praised the book for its "indelible, dreamlike details."[22] Stephanie Burt, writing for The New York Times Book Review, lauded it as "at once angrier, and more fun, more attuned to our time and more bizarre, than most poetry can ever get."[23] The Stranger dubbed Motherland Fatherland Homelandsexuals "the first true book of poetry to be published in the 21st century."[24] Rolling Stone included Lockwood and the book on its 2014 Hot List and The New York Times named it a Notable Book.[25]

Riverhead Books published Lockwood's memoir Priestdaddy in May 2017.[26] The book, called “electric” by The New York Times and “remarkable” by The Washington Post, chronicles her return as an adult to live in her father's rectory and deals with issues of family, belief, belonging, and personhood.[27] In July 2017, Imagine Entertainment announced it had optioned Priestdaddy for development as a limited TV series.[28] The memoir was named one of the 10 best books of 2017 by The New York Times, one of the best books of the year by The Washington Post, The Boston Globe, The Chicago Tribune, The Sunday Times, The Guardian, The New Yorker, The Atlantic, New York, Elle, NPR, Amazon,[29] Publishers Weekly, among others, was a finalist for the Kirkus Prize, and was awarded the 2018 Thurber Prize for American Humor.[30] In 2019, the Times included the book on its list "The 50 Best Memoirs of the Past 50 Years."[31]

Lockwood’s nonfiction, which combines elements of cultural and literary criticism with gonzo journalism, has appeared widely in venues from The New Republic to Vogue, with subjects as varied as the New Hampshire primary and figure skating.[32] Her writing on authors such as Joan Didion and John Updike has drawn widespread acclaim, with The New Yorker calling Lockwood “a wizardly reviewer” and The Paris Review celebrating her as “a cultural critic at the height of her powers.”[33] Praising her “fine thinking” and “purposeful comedy,” The New York Times Magazine’s Wyatt Mason concluded “nothing will get you to read literary criticism” if Lockwood can’t.[34]

• Priestdaddy (Riverhead Books, 2017)

• Balloon Pop Outlaw Black (Octopus Books, 2012)
• Motherland Fatherland Homelandsexuals (Penguin Books, 2014)
• Penguin Modern Poets 2, Controlled Explosions: Michael Robbins, Patricia Lockwood, Timothy Thornton (Penguin Books, 2017)