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The poems in Chelsey Minnis’s Opera Fever read like a dangerous bodice-ripper, glamorous and haunted. From the covid claustrophobia in which they were written, these poems sharply maneuver from steamy observations to gravitas (and then some groaning under the fur coats../Let's be very hard on veils.. / Like a dark summer with too many funerals...). In movements that feel delightfully restless and darkly romantic, we readers are lucky to be caught in their quake.
Price: $22.00
Pages: 104
Publisher: Wave Books
Imprint: Wave Books
Publication Date:
07 April 2026
Trim Size: 8.00 X 6.00 in
ISBN: 9798891060401
Format: Paperback
BISACs:
Previous praise:Some poets are cutters, others are curers, showing up to every occasion like a condolence-wisher with a casserole. Chelsey Minnis is firmly in the first category. Her verse arrives well chilled. It is served with misanthropic aplomb. . . . Her poems marinate in the sort of feelings you don’t like to admit you have. There’s a tang of Nietzsche in her antisocial desires, her amorality. Minnis is a bored, fierce, literate attendee at what the poet Frederick Seidel has referred to as “life’s cotillion.”
–Dwight Garner, New York Times
[Minnis] has more killer lines per square-foot than Seidel even. Her subject is poetry, its awfulness, its pretensions, its ‘business’, and she arrives armed.
–Sam Riviere, The Quietus
If you agree with Aristotle when he writes in the Poetics that “the greatest thing by far is to be a master of metaphor” and that such mastery is “a sign of genius,” then you might also agree that Chelsey Minnis is a brilliant mastermind.
–Chris Tonelli, Black Ocean
The great substance of Minnis’s writing is what she can do without typical poetic accoutrement. No vivid imagery, no rhyme or meter, no real sonic resonance, just honest language stripped apart and put back together in a way that is rarely seen: honestly.
–Cannoli Pie
Minnis excels at teetering in perfect balance between the childishly vapid and the ultimately truthful.
–Elisa Gabbert, Open Letters
Minnis mixes the postmodern with the nearly archaic: her exclamatory lines contain an almost troubadour-like quality in their exuberance for announcing their thoughts.
–Publishers Weekly
–Dwight Garner, New York Times
[Minnis] has more killer lines per square-foot than Seidel even. Her subject is poetry, its awfulness, its pretensions, its ‘business’, and she arrives armed.
–Sam Riviere, The Quietus
If you agree with Aristotle when he writes in the Poetics that “the greatest thing by far is to be a master of metaphor” and that such mastery is “a sign of genius,” then you might also agree that Chelsey Minnis is a brilliant mastermind.
–Chris Tonelli, Black Ocean
The great substance of Minnis’s writing is what she can do without typical poetic accoutrement. No vivid imagery, no rhyme or meter, no real sonic resonance, just honest language stripped apart and put back together in a way that is rarely seen: honestly.
–Cannoli Pie
Minnis excels at teetering in perfect balance between the childishly vapid and the ultimately truthful.
–Elisa Gabbert, Open Letters
Minnis mixes the postmodern with the nearly archaic: her exclamatory lines contain an almost troubadour-like quality in their exuberance for announcing their thoughts.
–Publishers Weekly
Chelsey Minnis lives in Boulder, Colorado, and also writes screenplays under the name Merrit Schmidt. She has an MFA in poetry from the University of Iowa Writer's Workshop, and her books of poetry include Baby, I Don’t Care, Poemland, Bad Bad, and Zirconia. Two of her drama screenplay features placed in the semifinals in the Austin Film Festival in 2024: opera biopic Baritone and contained magical drama Autobiography of a Very Normal Person. A New York Times review for Baby, I Don't Care called her “a provocative thinker about gender and poetry and the erotics of dislike.”