"Like Liberace, it's so bad, it's good, and it works its reverse psychology on the reader almost immediately. Underneath its Metallica typeface and juvenile hearts, Bad Bad chronicles a love-hate relationship with American poetry and the academic universe in which it too often resides...From the sixty-eight prefaces that begin the book to the 'Anti-Vitae' in which years are marked by rejected grant applications, unpublished poems, and critiques of her work by future poet laureates, Minnis uses the Master's tools to dismantle the Master's house. Moreover, she throws a new wrench into the toolbox. After the prefaces, which are made up of statements split both mid-line and end-line by a traditional use of ellipsis, Minnis returns to the extended ellipses that punctuate her first book, Zirconia. Hesitation, resolution, omission, inclusion, decoration, and punctuation, the ellipses are...the bullet-holes that remain after Minnis's speaker takes shots at the reader."

-Sasha Steensen, The Boston Review

"I had a necklace made that says BAD BAD, bought five copies of that book..."

-Ann Key, The Poetry Society UK News

"Her body of work-spanning five books-is irreverent, darkly humorous, and bitingly seductive, often mimicked, and still, entirely distinct...In her words, she writes "aggro" poems, and yet, is something of an enigma...Her work gets passed on by word of mouth. Cultish fandom ensues."

-Ana Cecilia Alvarez, affidavit

"Juvenile mockery of poetry and the American poetry establishment, as well as excited reverence for both, are the themes of [Chelsey] Minnis's second collection."

-Publishers Weekly