Dressing Room Poetry Journal
  • Home
  • Issue Eleven
    • A case of unemployment by Geoff Anderson
    • Plenty by Roy Bentley
    • The Amazing Mr. X by Ace Boggess
    • witches by Robert Lee Brewer
    • Conversations with Inherited Jewelry by Anne Champion & Jenny Sadre-Orafai
    • Mermaid Spell by Anne Champion & Jenny Sadre-Orafai
    • Guest Artists on My New Poem by Jim Daniels
    • Past My Bedtime Suite by Jim Daniels
    • Waiting to Die by Holly Day
    • To my Roommate: by Riley Gable
    • How to Fix a Monet after Someone Punches It by Howie Good
    • (Death mints at the funeral home.) by Samantha Guss
    • (Your sound advice.) by Samantha Guss
    • Hitler Reincarnated by Katie Irish
    • A Real Gentleman by Katie Irish
    • Bus Crush by Robert Karaszi
    • stupid questions like by Gabrielle Lessans
    • Oh, Wendy by Marie Marandola
    • The Song of the Letting it all Go by Ken Meisel
    • My Father at Fifty by Robert Miltner
    • to the doctors who keep telling me i'm okay—an abbreviated list of symptoms: by Hannah Nahar
    • common time by Rachelle Pinnow
    • Last Look at Our Room at the Honeymoon Hotel by Jackson Sabbagh
    • What is Seen: Vincent Street by John Walser
    • Play is Political by Laura Grace Weldon
    • To Be Honest by Francesca Wilkin
  • Issue Ten
    • THREE EXCERPTS FROM BRAZIL, INDIANA by Brian Beatty
    • A WAILER AND AN ARM WAVER by Roy Bentley
    • ON THE DAY MY HUSBAND IS ASSUMED TO BE A FATHER BY THE CLERK IN THE BIG & TALL MAN'S CLOTHING STORE by Jennifer Jackson Berry
    • VENICE by Danny Caine
    • MEETING MY HOST FATHER by Meg Eden
    • PURIKURA by Meg Eden
    • A WIZARD'S HAT by Jill Carey Michaels
    • STRANGULATION by Thomas Stewart
    • THE EXECUTIONER by Maria Garcia Teutsch
    • MEMOIR (9) by Anastacia Renee Tolbert
    • MUSICAL GENTRIFICATION by Anastacia Renee Tolbert
    • YOU'RE 10, AND YOU WANT TO GET RID OF YOUR BARBIE by Amy Schreibman Walter
  • Issue Nine
    • Michael Albright
    • Ashley Cardona
    • Chris Crittenden
    • John Dorsey
    • Chelsea Eckert
    • Molly Fuller
    • Jennifer MacBain-Stephens
    • Kenneth Pobo
    • Claudia Serea
    • An Interview with Kristina Marie Darling by Genevieve Jencson
    • SUNCHILD: An Interview with Blake Lee Pate & Taylor Jacob Pate
  • Issue Eight
    • Stephanie Bryant Anderson
    • Maggie Blake Bailey
    • Katie Berger
    • Robert Lee Brewer
    • Robert Cole & Juliet Cook
    • Juliet Cook & j/j hastain
    • Vanessa Jimenez Gabb
    • Rebecca Hanssens-Reed
    • Ted Jean
    • Jill Khoury
    • Jean Prokott
    • Milla van der Have
  • Submissions
  • Staff
  • Issue Seven
    • IN THE BATTALION TOC THE SOLDIERS LIVED by Paul David Atkins
    • WHAT ILLNESS by Emily Grace Bernard
    • {OBSCURA} by Kristy Bowen
    • MUSE by April Michelle Bratten
    • COWBOY by Janet Butler
    • DST by John Estes
    • DEAR TURQUOISE by Ruth Foley
    • OPEN DOORS by Ricky Garni
    • NUTS by Ricky Garni
    • THE HANDSHAKE by William Greenway
    • LAUGHING WHEN YOU MENTION THE OTHER WOMAN by Gail Hosking
    • ACHILLES by Peycho Kanev
    • APERTURE by Dan Sicoli
    • THE CURATOR OF SHIPWRECKS by Aden Thomas
    • THIS ISN’T WORKING by Elizabeth Weaver
    • FORGETTING NAMES by Laura Grace Weldon
    • INTERVIEW WITH KATE GREENSTREET by Sarah Dravec
  • Issue Six
    • Amanda Chiado
    • David Chorlton
    • Susan Grimm
    • j/j hastain
    • Jenn Monroe
    • Eric Morris
    • Amanda Oaks
    • Teresa Petro
    • Thomas Piekarski
    • Kushal Poddar
    • April Salzano
    • An Interview with Elizabeth Ellen by Jacob Euteneuer
  • Issue Five
    • Metamorphosis by Michael Collins
    • Apples by Donavon Davidson
    • Dear James Wright by Sarah Dravec
    • Burn, Baby, Burn by Terry Godbey
    • damage control by Howie Good
    • Snowflakes on a Hardening Land by Robert S. King
    • Rehab Stories: A.A. Superstar by David Rutter
    • Show How You Can Use Awkward Areas by Kristina Marie Darling & Carol Guess
    • Bloodstains Should Be Removed Or Contained by Kristina Marie Darling & Carol Guess
    • Be a Smooth Talker, But Also a Good Listener by Kristina Marie Darling & Carol Guess
    • What She Found in the Cabinet by Carol Guess in the Style of Kristina Marie Darling
    • The Maid of Honor Gives a Toast by Kristina Marie Darling in the Style of Carol Guess
    • Carol Guess on Collaboration and X Marks the Dress: A Registry
    • Kristina Marie Darling on Collaboration and X Marks the Dress: A Registry
  • Issue Four
    • Elizabeth Ashe
    • Leah Browning
    • Jackson Burgess
    • Sara Biggs Chaney
    • Sarah Cortez
    • Katie DiGangi
    • John Farmer
    • Emily Lake Hansen
    • Scott Hartwich
    • Wess Mongo Jolley
    • Robert S. King
    • Rebecca Ligon
    • Ellene Glenn Moore
    • Eric G. Müller
    • Mirissa Rini
    • Claudia Serea
    • Alexandria Simmons
    • Sara Williams
  • Issue Three
    • Cristin O’Keefe Aptowicz
    • Anne Barngrover & Avni Vyas
    • Brian Beatty
    • Richard Carr
    • Anne Champion
    • Ha Kiet Chau
    • Lisa J. Cihlar
    • Howie Good
    • Genevieve Jencson
    • KJ
    • Krystal Languell
    • Robert Lietz
    • Kellie Nadler
    • Krysia Orlowski
    • Danielle Pafunda
    • Frederick Pollack
    • Sarah Sarai
    • Katie Jean Shinkle
    • Erin Virgil
    • Megan Volpert
    • Valerie Wetlaufer
  • Issue Two
    • Paul David Adkins
    • J. Bradley
    • Mary Stone Dockery
    • Samantha Duncan
    • Howie Good
    • Chelsey Harris
    • Mark Jackley
    • Ben Nardolilli
    • Kenneth Pobo
    • Emily Strauss
    • Meghan Tutolo
    • J. Michael Wahlgren
  • Issue One
    • Mary Biddinger
    • Susana H. Case
    • Tenaya Darlington
    • Terry Godbey
    • Amy Lawless
    • M.P. Powers
    • Jay Robinson
    • xTx
  • Contact
  • Archive

Field Notes, Liverpool





Her domestic body is the most common form and in proximity to a residence, such as the 
'front or back body.' The front may be a formal and semi-public body and so subject to 
the constraints of convention and local laws on beauty.

While typically found in community, she may also be established on a roof, in an atrium 
or courtyard, on a balcony, in windowboxes, or on a patio.

Female bodies are typically designed at human scale, as they are most often intended for 
pleasure. However, the body of a beauty may be larger than a public park.

Residential bodies may feature structures, such as those for exhibiting one particular type 
of beauty or special features, such as rockery or water. She is also useful for growing 
herbs and vegetables and is thus an important element of sustainability.






*

A surface beauty is a body that cultivates styles mentioned in literary works. In English-
speaking countries, particularly the United States, these are often public bodies associated 
with parks, universities, and festivals.

Surface beauties are sites of cultural, educational, and romantic interest and can be 
locations for outdoor weddings. Signs near her usually provide relevant quotations.

One of these bodies usually includes several dozen talents, either in herbaceous profusion 
or in a geometric layout with charming dividers.

Typical amenities are walkways and benches and a weather-resistant bust. Surface 
beauties may accompany reproductions of lyrical architecture.






*

A mothering she uses an informal design, traditional materials, dense arrangements, and a 
mixture of ornamental and edible features.

Mothering shes go back many centuries, but their popularity grew in 1870s England in 
response to the more structured Victorian maternal shes that used restrained designs with 
massed beds of brilliantly colored select bodies.

She is more casual by design, depending on grace and charm rather than grandeur 
and formal structure.

The series of thematic mothering books, which emphasized the importance and value of 
natural birth, were an influence in Europe and the United States.

The earliest mothering shes were far more practical than modern maternal bodies—with 
an emphasis on vegetables and herbs, along with fruit trees, beehives, and even livestock 
if time allowed.

Theory was used to fill any spaces in between. Over time, theory became more dominant. 
Modern day maternal shes include countless regional and personal variations of the more 
traditional motherly body.









Krystal Languell teaches writing at the Borough of Manhattan Community College and Pratt Institute. She is a member of the Belladonna* Collaborative, and edits the feminist poetry journal Bone Bouquet. Recent creative work has appeared or is forthcoming in Denver Quarterly, Columbia Poetry Review and La Fovea. She has published interviews and reviews with Coldfront, NewPages and The Poetry Project Newsletter.
✕