Kayleb Rae Candrilli

2019 Winner in
Poetry

Kayleb Rae Candrilli is the recipient of a PEW fellowship and a fellowship from the National Endowment of the Arts. They are the author of Water I Won’t Touch, All the Gay Saints, and What Runs Over. They live in Philadelphia with their partner.

Photo Credit:
Beowulf Sheehan
Reviews & Praise

"When Roethke said 'energy is the soul of poetry,' he might have been anticipating a book like What Runs Over, which is so full of energy it practically vibrates in your hand. Here, Candrilli’s speaker sticks their tongue 'into the heads / of venus fly traps just to feel the bite,' then later, burns holy books in the backyard and rolls around in the ashes until they become 'a painted god.' This is the verve of an urgent new poetic voice announcing itself to the world. As Candrilli writes: 'This is what I look like / when I’m trying to save myself.'" —Kaveh Akbar, author of Calling a Wolf a Wolf

“Kayleb Rae Candrilli's first book What Runs Over is a triumphant, daring, & filthy collection of letters. It grips sorrow, kink, desire, memory, family, queerness, nostalgia between its gnarled teeth & shakes. When I finished reading it, I was shaking. Be careful reader as this book will leave you shook.” —sam sax, author of bury it 

“Part fist-to-the-face-of-God, part pain-drunk-howl, part sex-slick-reverie, Kayleb Rae Candrilli’s debut book, What Runs Over, is brutal and necessary. You will be taken to a mountain, dear reader, and there you will experience the violence of isolation and proximity. But you can (and I do) trust a writer who says, ‘the pain of being cut to pieces is lovely’ and then pays equally deft attention to the pain, the pieces, the loveliness, and the cut.” —TC Tolbert, author of Gephyromania

From the Selection Committee

The most unsettling of lullabies, Kayleb Rae Candrilli’s verse memoir unfolds with savage grace as it lays bare the violence and isolation of a trans person’s coming of age. It is a dazzling addition to literature about rural childhoods. In looping imagery of animals and decay, Candrilli gives their uncompromising vision of the wages of familial love and the various ways a young person can devise their own escape. They show how language has the power to shape and to misshape the self, and their work feels as urgent and electric as a living thing.