Lindsay Bernal’s What It Doesn’t Have to Do With explores through sculpture, painting, pornography, and performance art changing views on gender and sexuality. The elegiac meditations throughout this collection link the objectification of women in art and life to personal narratives of heartbreak, urban estrangement, and suicide. Haunted by the notions of femininity and domesticity, the protagonist struggles to define the self in shifting cultural landscapes. Ezra Pound, Louise Bourgeois, and Morrissey coexist within the unruly, feminist imagination of these poems. Through quick turns and juxtapositions, Lindsay Bernal navigates the paradoxical states of grief and love, alternating between vulnerability and irony, despair and humor. Her wry, contemporary voice confronts serious subjects with unpredictable wit.