Listen to Katherine E. Young on the Badass Women-Folk Podcast
Katherine E Young talks about her translation work, her new poetry anthology, and her latest collection of poems Woman Drinking Absinthe
Katherine E. Young talks about her many literary projects with host Christine Sloan Stoddard on the Badass Lady-Folk podcast. From her new collection Woman Drinking Absinthe, she reads her poem, "Bar at the Folies-Bergère" which you can read here. Intrigued, Stoddard reads the description of Woman Drinking Absinthe, "The mood is Paris, the morning after a debauch: bitter hot chocolate, a croissant, and a strong aftertaste of the previous night. The setting is Art Nouveau, with its ornament and excess; the playlist is Debussy, Ravel, Stravinsky, and Puccini..." Woman Drinking Absinthe is available now from Alan Squire Publishing.
Christine Sloan Stoddard hosts the Badass Lady-Folk podcast produced by Quail Bell Press. Badass Lady-Folk is a podcast about "socially engaged women & NB femmes kicking buns big & small." On the most recent episode, Katherine E. Young discusses several new projects including a poetry anthology composed of poems from Arlington County, VA and an English translation of a controversial (in Russia) Russian novel.
Reuben Jackson Joins WPFW’s “The Sound of Surprise”
Beginning May 1st, Reuben will begin as host of DC radio channel WPFW’s “The Sound of Surprise.” The show runs from 4 to 6pm and Reuben will be alternating every other Sunday with the program’s creator, Larry Appelbaum.
A Book and Its Cover: Rose Solari Reviews Two New Collections of Poetry for WIRoB
Rose Solari’s latest review column for Washington Independent Review of Books tackles two stellar new collections by established small-press poets, Terry Ellen Cross Davis and Dan Beachy-Quick. As with all her reviews, Rose uses a common theme to link the subject matter of the books she is reviewing. This month, she explores how the cover design is mirrored by the poetry and vice versa.
New Review of Girls Like Us: GLU “Bulges with Debilitating Last Lines”
In Lannie Stabile’s new review of Elizabeth Hazen’s second collection Girls Like Us, she raves about the effect of Hazen’s “last lines.” Girls Like Us, she says, is “bulging with debilitating last lines.” Like this one in the opening poem “Devices,” that Stabile points to as like a “hook,” “We’ve been called so many things that we are not, we startle at the sound of our own names.”