Attending AWP? Check out Katherine E. Young’s Panel on Women in Translation
"This panel of poet-translators working in Catalan, French, and Russian focuses on the systems of exclusion that permeate the literary culture in this country and the role of translators in amplifying these voices."
Join professional translators Katherine E. Young, Aviya Kushner, Nancy Naomi Carlson, Sharon Dolin, and Andrea Jurjević as they discuss "systems of exclusion which permeate literary culture." This panel at AWP is an important one for Katherine E. Young who has historically translated Russian-language authors experiencing oppression. Her latest translation, Anna Starobinets' Look at Him, is a memoir recounting the treatment of a young woman carrying a terminally ill child.
Katherine E. Young's poetry also contends with gender issues and advocates for female empowerment. Her latest collection, Woman Drinking Absinthe, places the struggles and triumphs of women in historical and modern contexts. The women of these poems, from the naïf who willfully ignores evidence of Bluebeard’s crimes to Manet’s dispirited barmaid at the Folies-Bergère, brush off convention at their peril, even though convention imperils their bodies, their spirits, and their art.
This panel is available to all attendees of the all-digital 2021 AWP conference.
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.
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.
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.”