From the Latin meaning “secret” or “non-canonical,” apocrypha denotes a statement or story of doubtful authenticity or unknown authorship. So disbelieved, the set of texts known as the biblical apocrypha have been excised & set aside from the main body of the Bible. As a container for my manuscript-in-progress, I call upon apocrypha’s esoteric and hidden-away holiness, and so name Apocrypha divinity of the supra-canonical, goddess of excess by way of disbelief. Enacted in this manuscript is an interlocution of self & body, a configuration outside of canonical human experience, trans speakers who so find posterity and futurity in the surround of human being: flowers, seasons, satellitic cyclings, the processual churnings of dirt. I am thinking here about the self as an excess/overwhelm/catastrophe physic, in that the oppressive architectures these speakers enter they exceed & are in remainder of. These poems exist in the locus of canons anti-Blackness, homophobia, and transmisogyny. These poems exist in the beyond thereof. Hereto, devastated are the logics & misbeliefs which labor such confinements into being. The poetic which labors here combusts these oppressive architectures with the quintessence of a self. Formally, I am writing to enact catastrophes of sound, image, form, and page, in order to recover the body—these Black, queer, trans, woman bodies—as a site of renewal and possibility. In the absence of verifiable origin, Interlocutor Goddess contains lyric cosmologies, seeks the divine inside of marginalized being.