Karin Bolender’s R.A.W. Assmilk Soap is an essay that describes a multigeneration barnyard-based performance-art practice, which hopes to sidestep Western logocentrism and enquire into human and non-human languages, bodies and companionship, names and unnameables, gender and species, alternative ways of knowing worlds and particular kinds of worldings. The essay involves Aliass, a white-brown-and-black pregnant American Spotted Ass who accompanies Bolender on a seven-week-long journey across the American South in 2002. Astonishingly, their journey is sparked by one simple word, ‘ass’, which is more than just the name of a donkey’s species: ‘ass’ is the American Spotted Ass, but also the “unladylike,” forbidden, dirty word that also appears in Holy Scriptures, ‘ass’ becomes a human-posthuman ambiguity that questions certain obstacles to intimacy that naming implies, to finally become a means of connection, an opening to becomings with (Ali)ass’s ways of knowing the world that are other than those of humans.