Sons of an Illustrious Father has been many things, a multifarious multiphonic entity, more than the sum of its shifting parts. Six separate people banding together, not all at once but as two then three then five then three again. An expanding and contracting container. That shape is shifting once more, and after so many incarnations it feels like this newest being wants a new name. Sons was an ironic dig at dubious inheritances, the self-branding of prodigal progeny in dis/honor of what came before, filled with adolescent angst, defining ourselves in defiance. We’ve grown up somewhat since that christening, with and further into each other, not just products of the past but positive co-creators of our present. We—Lilah and Ezra—are now ODDKIN. What we once named from a negative perspective we now rename with a positive approach: from a term coined by scholar Donna Haraway for relationships other than biogenetic/anthropocentric/patriarchal, those “unexpected collaborations and combinations, in hot compost piles,” those patchworks of sympoetic playmates that we must weave in order to maybe, we pray, make our collective way through…whatever this is; or Dean Koontz’ clearly libran creatures, made magically animate to aid kids in crisis and eachother through grief and fear. It does not redact but rather revises the old name—same tune different timbre. Oddkin is what we’ve been searching for.