Writing on the Absurd (Esslin 1961, Cornwell 2006, Gavins 2013) has neglected in-depth analysis of Absurdist poetry and Absurdism written by women. My pamphlet is underpinned by my innovative critical research, in which I define and characterise a new literary aesthetic: what I name the New Absurd. The ‘traditional’ Absurd, especially in James Tate’s and Russell Edson’s poetry, focuses on misogynistic depictions of women in stereotypical domestic situations (Delville 1998). In the pamphlet, I challenge notions of ‘confessional’ poetry (Yezzi 1998), especially those which suggest that women’s writing is autobiographical (as noted in Iglesias 2004, Olds 2008, Webb and Berry 2017), deliberately ridiculing and undermining attempts to read the poems as such. Recognising that gender roles are ‘spatially defined in relation to inside and the outside of the house’ (Scolnicov in Derksen 2002), my poems seek to interrogate gendered domesticity. The ‘traditional’ Absurd focuses on breakdowns in communication and disconnectedness (Cornwell 2006, Caleshu 2011, Bennett 2015). My poems use tropes of sitcoms and documentaries to allow speakers to talk at cross-purposes, or out of syncopation, whilst ridiculing the idea of the poet as an ‘enlightened’ figure (Lerner 2016) by blurring the boundaries between ‘high’ and ‘low’ culture (Sweeney 1997; Holloway-Smith 2014). This creates carnival laughter (Bakhtin 1984), allowing everyone to laugh at the same subject. My poems further draw from Google Street View to explore the fraught relationships between gender, technology, and surveillance (humdog 1994, Gillis 2007, Dunant and Porter in Ahmed 2014, Evans 2015, Sudjic 2018). The pamphlet was featured in the 2019 Spring edition of the Poetry Book Society Bulletin and reviewed by Sabotage Reviews. It was launched at Birmingham Waterstones. I was invited to read from the pamphlet at the LRB Bookshop (2019) and Bodmin Moor Poetry Festival (2019).