WOMAN DRINKING ABSINTHE Analyzed by Billy Mills
Former Guardian Literary Journalist, Billy Mills, analyzes the conception of love in Katherine E. Young's new collection.
"Young’s core subject is love, but there’s nothing redemptive or particularly healing about its manifestations," writes Billy Mills in his analysis of Young's Woman Drinking Absinthe. Elsewhere he compares the different manifestations of this theme to coeval poets Christopher Jane Corkery and James Roome.
Mills analysis is fitting for Young's work which comes from a deeply literary place and is steeped in evocative allusion. Mills places WDA alongside the likes of Pound and Eliot in his thinking. Like these poets, Young uses unorthodox and historically informed forms and diction in her poetry.
An excerpt of Mills' analysis follows:
"The fourth (of five) sections of Katherine E. Young’s Woman Drinking Absinthe is a single sequence, ‘Place of Peace’ that takes off from a visit to the Civil War memorial at Shiloh National Military Park. The fourth section of the sequence opens with he line ‘Who doesn’t desire to be mesmerized by love?’ and ends ‘once more I fear the shadow of his hand.’ These lines could be said to serve as the twin poles of the entire collection.
For Young’s core subject is love, but there’s nothing redemptive or particularly healing about its manifestations."
The poems in Katherine E. Young’s Woman Drinking Absinthe concern themselves with transgressions. Lust, betrayal, guilt, redemption: Young employs fairy tales, opera, Impressionism, Japonisme, Euclidean geometry, Greek tragedy, wine, figs, and a little black magic to weave a tapestry that’s as old as the hills and as fresh as today’s headlines.
Fiddlin’ Around in Ireland
Nothing buoys the spirits like a walk along Grafton Street. Gray day or sunny, it’s bright with noise and laughter. Loud “hellos,” babies crying, neighborly gossip, rich brogues and lilting Irish airs float up onto the breeze. Our chosen course allowed for a stroll through St. Stephen’s Green. Sunlight dappled the leafy brakes. Inspired by the moment, Lawrence liberated his fiddle and sawed out a hornpipe. He was joined in his performance by a pair of amorous ducks.
On Grafton street we were immediately surrounded by music. A couple of 9 and 10-year-old boys, Donald Reagon and Paul O’Neill, were delighting passersby with smooth moves on the fiddle and concertina. College students with shaved heads played sitars. Old men played jazz. A guitarist somewhere was plucking out George Harrison tunes and singing, “Here comes the sun, little darlin’ here comes the sun.”
On that musical street there was only one poet—a threadbare character who, for a pound or a punt (Irish pound) or nothing at all, would recite a poem by a poet of one’s choosing. I selected Yeats and was honored with “The Fiddler of Dooney”:
“When I play on my fiddle in Dooney, Folk dance like a wave of the sea . . .”
An Interview with Elizabeth Hazen, Baltimore Poet and Baker Award Finalist
Baltimore poet, Elizabeth Hazen’s first collection of poems is entitled Chaos Theories. Last week the young poet was announced as a finalists for the prestigious Baker Artist Award in literature. We sat down to talk with her about her experience in Baltimore as an artist and what programs like The Baker Awards mean to artists.
Elizabeth Hazen Announced as a Finalist for the 2019 Baker Award
This year, ASP’s own Elizabeth Hazen, author of the poetry collection Chaos Theories, is a finalist for the $10,000 literary honor. Hazen is a Baltimore resident and ardent supporter of the city’s burgeoning arts scene (named by Thrillist and Departures magazines as one of the best arts cities in America). She received her MFA from Johns Hopkins University and currently teaches English at the Calvert School in Baltimore.