LET THE DEAD IN Receives Glowing Review in Lightwood Press #10
"Agostini’s socially and spiritually aware poetry collection 'Let the Dead In' focuses on the duality between love and hate along with the way that these concepts integrate and clash"
Poet Robyn Hager reviews Saida Agostini's daring first collection let the dead in in the 10th edition of Lightwood. In her review, Hager praises Agostini's social and spiritual awareness as she contends with the violence and oppression facing black people in the United States. Below, read a small excerpt. Read the entire review in Lightwood's new issue here. Order let the dead in here.
Agostini successfully juxtaposes stark images from her life with deeply entrancing metaphors, and most poignantly in her poem "what love is" she compares the images of turmoil she witnesses between her parents with a dead buck on the side of the road whose
flesh ripped/exposing a dark black machine/so soft, stinking and fragile that years/later you’ll remember the risk of loving/something that wild
The author’s ability to display these powerful, and sometimes gruesome, epithets about life shines through in the entirety of her collection.
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.