When at its best, the art of the erasure is not the simple removal of language, but the work of finding the threads resting underneath what already exists. In I Am Not Famous Anymore, Erin Dorney is both puzzle-maker and puzzle-solver, chipping away at Shia LaBeouf and making something newer, and more glistening. What will most stun you is the arrangement of language that was already there: 'I was folded / I was made to hold things / and on the way home / he cut me.' This book is so immersive and so transformative in its ambition that one will forget that they are reading the words someone else once spoke into the air. And I suppose that is the trick, isn't it? To make a reader care about that which they didn't care about before. This book left me invested in ways I didn't imagine. And that is the highest compliment I can pay.
—Hanif Abdurraqib, author of They Can’t Kill Us Until They Kill Us

I Am Not Famous Anymore is strange and surreal while simultaneously being tragic and hilarious. Perfect.
—Chelsea Martin,  author of CACA DOLCE

Creating poetry via erasure is a balancing act, requiring the author to balance forces of voice, subject and style against those of the original text... Erin Dorney achieves a rare equilibrium, surfacing poems that are at once recognizable to those of us familiar with entertainment news and uniquely her own.
— Jenni B. Baker, Co-Founder of Container

 As LaBeouf’s meta-modern sensibilities have rendered him tabloid fodder at times, one imagines he’d appreciate Dorney's nuanced, ironic, and moving interventions. Here, the private becomes public becomes private becomes public again, culminating in the “fifth iteration / of a chance to believe.”
—Dora Malech, author of Stet: Poems

 Erin Dorney's I Am Not Famous Anymore is a blue-ribbon lesson in how to do celebrity studies.
—Lara Mimosa Montes, author of The Somnambulist

 I read each of these poems at least twice, once purely on its own poetic terms and once again through the voice of Shia, curious after the original context, what Erin cut, just generally what Shia is doing now. And many of them I kept reading, going back and forth between these two readings, kind of hypnotized by them, by Shia, by what Erin has done to make each feel like a unique little puzzlebox of a poem.
—Aaron Burch, Editor-In-Chief of Hobart