My research-creation master’s thesis – a poetry manuscript titled That Awful Knowledge – is informed by the writing, spoken word poetry, and lyrics composed by women, including queer and BIPOC women, whose literary responses to institutional sexism and cultural misogyny have cultivated historical threads in the archive of canonical and often forgotten works. My poetry attempts to address the “patriarchal socialization” that reduces women’s voices to extreme stereotypes, drastically reducing their “subjectivity, autonomy, and creativity” (Gilbert and Gubar 48). The women inspiring my collection, both real and imagined, are invoked to reimagine their transgressive voices in contemporary dialogues of intersectional feminist praxis. That Awful Knowledge begins with my rage: inconvenient, undeniable, unwanted rage. I began drawing a vision in my mind that my rage could be productive, that I could not only produce trauma-informed work within the institutional archive, but that my performative activism – contained in what Diana Taylor calls “unreproducible knowledge” or, rather, “the repertoire” – holds validity and causes disruption in academic spaces. Women’s performative rage has been historically stifled, ignored, and silenced by patriarchal societies, and my collection searches for such historical seeds of resistance, often located in feminized representations of the uncanny, the spectacular, and the monstrous. That Awful Knowledge engages with this uncanny, “unusual archive” (Cvetkovich) of trauma through the portrayal of men’s sexual violence against young women and girls. The collection attempts to address the long-established consumption and perpetration of rape culture that disproportionately affects our world’s youngest, most vulnerable human beings.