This is a book with a soundtrack/playlist. The poems use a range of popular songs and music as a starting point for lyrical daydreams, serious narratives, personal and political reflections, as well as pop culture mash-ups that may seem random but in the end merge to create a performance-on-page that is fundamentally punk in aim and attitude. Although musical themes and backgrounds are often involved, music works more as both creative constraint and catalyst than as thematic guide here. Above all, music feeds Padua’s poetic practice, which is free-ranging, covering topics from small town to big city, youthful exhuberance to middle-age restraint, tranquils idylls to political violence. His neurodivergent mind (comprising Tourette’s syndrome, ADHD, OCD, and perhaps a few other conditions he does not understand) plays a big role in generating poems that are always as engaging as they are insightful and informed.
Jose Padua’s manuscript, A Short History of Monsters, was chosen by Billy Collins as the winner of the 2019 Miller Williams Poetry Prize and was published by the University of Arkansas Press. He identifies as Filipino-American neurodivergent. His poetry, fiction, and nonfiction have appeared in Bomb, Salon, Air/Light, Exquisite Corpse, Poetry Daily, Verse Daily, Northwest Review, Up is Up, but So Is Down: New York’s Downtown Literary Scene, 1974-1992, and many other journals and anthologies, including Best American Poetry 2025. He’s written features and reviews for NYPress, Washington City Paper, the Brooklyn Rail, and the New York Times and read his work at the Lollapalooza Festival, CBGBs, the Knitting Factory, the Public Theater, the Living Theater, the Split This Rock poetry festival, the Nuyorican Poets’ Café, the St. Mark’s Poetry Project, the Washington Project for the Arts, and many other venues. A stay-at-home dad, he lives in Lancaster, PA with his wife, the poet Heather L. Davis, and their daughter and son.