ng in its nuance, My Pleasure lives in the poetic entanglements of pleasure, disgust, and agency. From the bed to the club, the coal mine, the power plant, and the jail cell, Silt asks: Where do we extract pleasure, and what pleasure do we find in extraction? Is there sex without work, or only before, during, and after? Unfurling the binary distinctions between freedom and control, language and pause, and mind and body, My Pleasure does not imagine a different world so much as it embodies the possibility of another order within this one.