Get Money
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by Richard C. Armstrong III
60 pages | 6x9 Paperback
The only thing harder than saying a smart thing in a smart way is saying a smart thing in an outrageous way, in a silly way, or in downright dumb way. Richard Armstrong's poems are so impactful because their veneer invites you to prejudge them as fluff, and when you do, they slip between your ribs and prick your heart .
60 pages | 6x9 Paperback
The only thing harder than saying a smart thing in a smart way is saying a smart thing in an outrageous way, in a silly way, or in downright dumb way. Richard Armstrong's poems are so impactful because their veneer invites you to prejudge them as fluff, and when you do, they slip between your ribs and prick your heart .
What do a blow-up doll, a union contractor, John Keats, and Lil Wayne have in common? They're mingling in the cocktail party in Richard Armstrong's mind, drinking champagne and eating chicken McNuggets, rap battling in terza rima. These poems are full of play, they sing with lyrics that would embarrass your mother, and they do so while dancing around existential questions: can love redeem our heinous moments, what do we owe the universe (or God) for our existence, is it enough to rhyme "heinous" with "anus," and what does it mean to be American in age of Trump? The genius of Get Money is in how it creates an emotive impact through sloganeering, through the melding of bro-speak, blue-collar imagery, street slang, and archaic capital-R Romantic posturing. It's next level shit.
About the Author
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Richard Armstrong III is a poet and architect from Seattle, WA, now living in Texas. He's an avid hunter, fisherman, and chef. Get Money is his first book of poetry. |
Praise for Richard Armstrong
"Armstrong is the Han Solo of poets. He'll tell you he's not in this for your revolution, and not in it for you, princess, that he expects to be well paid. And you'll fall for these poems because he's a scoundrel, because he flies casual, because he doesn't say, 'I love you,' he says, 'I know.' But when you finish Get Money, as the braggadocio fades, what remains is a lingering sense of bravery, what remains is heart."
-- Carmiel Banasky, author of The Suicide of Claire Bishop
"In Get Money, Armstrong shifts effortlessly between the crass, the comic, and the heartbreaking. He is never content to play it straight. And thank goodness! Here is poetry that is exciting to read."
— Thomas McCafferty, Editor in Chief of Hirschworth
"Get Money has the music of Gerard Manley Hopkins, the many faces of Cloud Atlas, the grimy vulnerability of Amy Winehouse, and if that wasn't enough, it's dirty like Fifty Shades of Grey."
-- Amanda Knox, author of Waiting to Be Heard
"Armstrong is the Han Solo of poets. He'll tell you he's not in this for your revolution, and not in it for you, princess, that he expects to be well paid. And you'll fall for these poems because he's a scoundrel, because he flies casual, because he doesn't say, 'I love you,' he says, 'I know.' But when you finish Get Money, as the braggadocio fades, what remains is a lingering sense of bravery, what remains is heart."
-- Carmiel Banasky, author of The Suicide of Claire Bishop
"In Get Money, Armstrong shifts effortlessly between the crass, the comic, and the heartbreaking. He is never content to play it straight. And thank goodness! Here is poetry that is exciting to read."
— Thomas McCafferty, Editor in Chief of Hirschworth
"Get Money has the music of Gerard Manley Hopkins, the many faces of Cloud Atlas, the grimy vulnerability of Amy Winehouse, and if that wasn't enough, it's dirty like Fifty Shades of Grey."
-- Amanda Knox, author of Waiting to Be Heard