Katherine E. Young Reviews Merwin's THE VIXEN for 25 Year Anniversary
25 years after it was originally published, Katherine E. Young looks back on one of Merwin's most underappreciated masterworks
Katherine E. Young's retrospective on W.S. Merwin's The Vixen appears in The Adroit Journal. Her newest collection of poetry is Woman Drinking Absinthe available from Alan Squire Publishing. An excerpt from her essay follows. Read the full review HERE.
Is there such a thing as too much good poetry? My uncle, who made a lifelong habit of sending me copies of each of W.S. Merwin’s books upon publication, thought so. “He writes too much,” my uncle would lament each year when the Nobel Prize for Literature, one of the few major prizes to elude Merwin during his long literary career, was awarded to some other writer. In a career as prolific as Merwin’s—more than fifty books of poetry, prose, and translation, including multiple literary masterpieces—it stands to reason that not every book can be a great one. Right?
Consider Merwin’s 1996 collection, The Vixen. Coming on the heels of Travels: Poems, winner of the 1993 Lenore Marshall Poetry Prize, The Vixen is in many ways a quiet book. While the poems in Travels are set all over the globe and vary considerably in form, length, and even appearance on the page, the sixty-four poems in The Vixen, most of them no longer than a page, follow a single form: a long line that starts at the left margin, followed by a second, indented line (which is sometimes enjambed and sometimes syntactically independent of the preceding line), mimicking the appearance of call-and-response on the printed page. (In his original review of the book for Boston Review, poet and critic Richard Howard called it “one poem in 64 sections.”) The look of the poems is neat, tight, controlled. “Quiet” and “controlled” are not synonymous with “lesser,” of course, and for anyone seeking poems that nourish and challenge, The Vixen offers a rich bounty.
Featured Poetry: “Winter Funeral” by Elizabeth Hazen
Fully embracing what the lyric mode does best, Hazen provides the readers with brief, intense poems that preserve a suspended moment in time, attempting to record the thought processes and emotions of the speaker much like tree rings reveal drought, heat, and age. With astonishing clarity and concision, Hazen explores the mysteries of our realities—which are ultimately beholden to entropy.
Grace Cavalieri on the Kojo Nnamdi Show Jan 23rd
Recently Governor Larry Hogan announced that Grace Cavlieri, poet, playwright, and long time host of NPR’s The Poet and The Poem, would become Maryland’s next Poet Laureate, succeeding the great Stanley Plumly. Now that she has been inaugurated, one of her first stops is The Kojo Nnamdi show. Kojo Nnamdi has been hosting his show on WAMU for 20 years, so he and Grace are kindred spirits in that regard–Grace has hosted The Poet and The Poem for over 40 years.
A Short Thought on Grace’s Interview with Jorie Graham (by Writer, Nin Andrews)
Nin Andrews is a poet. Most recently of Miss August which is out now from the awesome Cavankerry Press and most notably of the collection, Why God is a Woman. Nin Andrews is also a fan of Grace Cavalieri’s interview with Jorie Graham which she recently extolled over on ITN.