I am trying to remember those first attempts. They had to be failures. Probably middle school home economics class where the disaster was no fault of the effort, but – and I can still taste this clearly – a bad ingredient from the classroom cabinet that had been there who knows how long before we read the recipe and reached for it. Bleck. Fortunately, we were graded on the effort and not the ingredient.
That probably wasn’t the first time I cooked, or helped out in a kitchen, but it probably was the first time I took a recipe, printed words on a page, read it and followed its instruction in an attempt to cook something into being. I wasn’t in on the secret then, but it wouldn’t have been long before I was smitten with the practice: cooking is an act of reading.
I would have first learned how to cook standing by my mother’s side, watching and helping here and there, marveling at what came out of her mind and hands. She knew her way along. Or so it seemed to me at the time. I now know there was a box of index cards in a container on the fridge top, and, of course, a book case along the wall that grew from time to time as a new series subscription began, expanding the family menu beyond the basics.
It is probably there that something really took hold, that bookcase and the words it held. I can remember Saturday afternoons, probably winter and gray with not much to do: I’d open the pages of one of the books in the Time Life series Foods Of The World and dig in.
Spellbound, I was traveling. I was delving into cultures. I was imagining creations and thinking they were just a listing of words away from appearing in the very room I was in. Actually, at first I was probably just looking at the pictures and wholly captivated, whether it was in consideration of a beautiful landscape from a far away place, a joyous collection of people being who they were wherever it was they lived, a collection of ingredients from what seemed like it had to have been another planet, not a part of the world I lived in (decades on, the grocery stores have caught up), and, of course, the food exactingly prepared and brightly photographed, though, looking back, nothing compared to the food porn poses of many a modern day Instagram account. I was smitten indeed. Eventually, probably after a year or two or three of drooling over images, maybe after having started to work in a local restaurant as a day cook, I reached for the picture book’s companion recipe volume and had a go. Such reading has been a life long endeavor since.
These days, I reach less for those quaint Time Life books, though there are recipes still in the repertoire (and, I’ll admit, they also take me time traveling back to childhood and the family kitchen, or at least lazy, dreamy Saturday afternoons). Over the years, they have given me the confidence and the inclination to pick up cookbooks and have a go at whatever I am looking at. My work in the kitchen won’t be masterly, but it often is enough to have taken words on a page and turned it into bright and happy taste.
Lately, I am enjoying reading and bringing to life the words of the Thug Kitchen series, and I want to make every recipe in Ottolenghi’s Plenty, a gift received from a friend after a visit – I’ll have perfected a few things for the next time they drop by. Moosewood’s books are go to favorites – I remember going to their restaurant once, ordering something and then, after that first taste, exclaiming too loudly, “I made this!” as if I had made that particular batch. At least that was the look on the faces of those around me. I had to explain that I had made the recipe before and it tasted as right proper from my hands as from the Moosewood kitchen itself.
There is nothing like a favorite restaurant’s cookbook, especially if the restaurant exists out of town: I have both the Vedge and Vstreet books as well as Zahav’s. Both bring tastes from far away to the kitchen table. There’s a cookie recipe from one of Emeril’s books that I have made a hundred times. I am not good at cakes, yet. Perhaps I need to start reading more dessert.
Some of my mother’s cookbooks have made it to my collection. They are cherished, though I am reading them differently than I once did. While there’s the personal nostalgia of the Time Life ones and the connection to my mother throughout, there are books in the collection I wasn’t as clued into at the time, particularly the ones generated by the women’s magazines of the day. They gave us some of the everyday recipes, more easy, economic fuel than edible taste, like tuna casserole — I would have never learned to love reading recipes into being had I started there. They also share a window on the culture in America back not that long ago, sexism and racism steaming off the pages in places. But that is a subject for a future post. For now, go grab yourself a cookbook and feast your eyes.
Science people and literature people don’t usually mix. We use different languages – dew and anguish for the lit types, water vapor and comorbid anxiety disorder for the science folks.
But there is a kinship.
Environmental activist and poet Jane Hirshfield, who knocked out crowds at a 2007 reading for HoCoPoLitSo at the Howard County Conservancy, showed that science and poetry should march hand in hand more often.
On April 22, Earth Day, at the rain-soaked March for Science in D.C. to support the scientific community, Hirshfield read a poem from the main stage (photo). Cheers and whoops broke from the crowd of hundreds of thousands who crammed the park below the Washington Monument and spilled over into Constitution Avenue.
She prefaced her poem with this statement: “On Jan. 25, when the federal scientists were told to be silent, this march was first conceived. By the afternoon, I began writing the poem I’m about to read you.”
“On the Fifth Day” begins:
“On the fifth day
the scientists who studied the rivers
were forbidden to speak
or to study the rivers.”
A few hundred yards from the main stage, through the crowds with their creative signs (Got Smallpox? Me neither! Thanks, science!), the March for Science community had set up tents to hold science teach-ins. Marchers crammed into sessions about the benefit of preserving nature in cities, about efforts to save the bees and manage stormwater. In a tent sponsored by #Poets for Science – a popular place on the rainy day – people popped in to write poems. The tent was surrounded by a collection of eight-foot-tall signs printed with verse by writers such as W.S. Merwin and Linda Pastan, each poem chosen by Hirshfield.
The activities inside the tent were directed by Kent State University’s Wick Poetry Center and its Traveling Stanzas program. As the rain pattered on the tent’s ceiling, hundreds of people created “emerge” poems, striking out some words in long paragraphs of scientific language. Copies of the speeches given on the stage that day were handed to anyone who came in – from four-year-olds to gray beards. Using markers, the authors crossed out blocks of words, leaving poems to emerge from the blackness.
The intrinsic value
of diverse and abundant plant and animal species
That value has been shared
The Wick Poetry Center site features more photos and emerge poems.
In Washington last Saturday, the crowd was exposed to the connections between poetry and science, demonstrating the ideas that many activist poets are trying to express — that art and science are not expendable, they are intrinsic to survival in the world.
As many signs read: “There is no Planet B.”
Hirshfield explains in her statement on the #Poets for Science site:
“Poetry and science are allies, not opposites. … Observation and imagination, the microscope and the metaphor, the sense of amazement— you need all of them to take the measure of a moment, of a life. Poetry and science each seek to ground our lives in both what exists and the sense of the large, of mystery and awe. Every scientist I know is grounded in curiosity, wonder, the spirit of exploration, the spirit of service. As is every poet.”
Many signs at the march were lettered with the March for Science’s slogan: “Science, not silence.” I would add, though the rhythm isn’t quite as sublime, “Poetry and science, not silence.”
Susan Thornton Hobby
By Laura Yoo
April is National Poetry Month, and Saturday, April 22nd is Earth Day. And I have a book recommendation that can help celebrate both: Black Nature: Four Centuries of African American Nature edited by Camille T. Dungy.
Black Nature offers a different perspective through which we might read, understand, and talk about the 93 black poets and their 180 poems included in this anthology. Dungy writes a compelling introduction in which she describes the noticeable absence of black writers from anthologies and discussions in ecocriticism and ecopoetics. She reminds us of the complex and unique connection that African Americans have to “land, animal, and vegetation in American culture”.
Despite all these connections to America’s soil, we don’t see much African American poetry in nature-related anthologies because, regardless of their presence, blacks have not been recognized in their poetic attempts to affix themselves to the landscape. They haven’t been seen, or when they have it is not as people who are rightful stewards of the land. They are accidentally or invisibly or dangerously or temporarily or inappropriately on/in the landscape. The majority of the works in this collection incorporate treatments of the natural world that are historicized or politicized and are expressed through the African American perspective, which inclines readers to consider these texts as political poems, historical poems, protest poems, socioeconomic commentary, anything but nature poems.
I want to test this new perspective, and with this in mind I turn to the poetry of Tyehimba Jess, the newly minted 2017 Pulitzer Prize in Poetry winner, who is coming to headline HoCoPoLitSo and Howard Community College’s annual Blackbird Poetry Festival on Thursday, April 27th. He will be reading and speaking with E. Ethelbert Miller during the Sunbird Reading. Notably, Miller’s “I am Black and the Trees are Green” is included in Dungy’s anthology.
Much of Jess’s acclaimed body of work illuminates on the African American experience. About Olio, Wave Books says, “Part fact, part fiction, Jess’s much anticipated second book weaves sonnet, song, and narrative to examine the lives of mostly unrecorded African American performers directly before and after the Civil War up to World War I.”
In an interview with LitHub about Olio, Jess spoke about the power and the politics of song: “To be able to sing under that kind of oppression I think, in a lot of ways, is the very essence of survival, of a people, of the ability to have to the hope to make something beautiful amongst so much wretchedness. That’s critical to the concept of human survival. And in this particular context, of African Americans working through slavery… that’s what we had.”
But in the context of Dungy’s Black Nature, I turn to Jess’s leadbelly with a different ear.
In “john wesley ledbetter,” Jess writes,
singing a crusade of axe and machete i take virgin texas territory by force, clear it of timber and trouble. each eastern twilight, i till top soil ’til sun plants itself back into that western horizon. i keep struggling against a brooding moon’s skyline until dark sleep is my friend again, a place where i can dream drought into rain, pray storm could out of spotless sky.
The poem goes on with, “there’s only one way out of slave time dues: hump this land down till it shrieks up a crop of cancelled debt into your wagon.” In this poem, we see an illustration of what Dungy describes as African Americans’ “complex relationship to land, animals, and vegetation.” She says, “African Americans are tied up in the toil and soil involved in working the land into the country we know today,” and she reminds us how they were “viewed once as chattel, part of a farm’s livestock or asset in a bank’s ledger.”
In “leadbelly: runagate,” Jess writes,
where water and land meet is shore, and on shore is iron in fists of jailers in sun of texas swamp. i wade into bubble and blue ink of red river, my head is shaven, bobbing, brown island of shine. […]
i want to let the water take me, i want to surrender to this river’s rock and swirl, come up clean and white as death itself, but the black in me breaks into blues, and i feel the coffle of their claws. i am stepping toward dry land, the dance of ankle chains, where i scream history into song that works itself into blood, sweat, memory.
The water in this poem reminds me of Dungy’s description of the “river” in Rita Dove’s “Three Days of forest, a River, Free”: it is “more than a moving body of water. It is a biblical allusion, a historical reality, a geographical boundary, a legal boundary, a decoy, the center of emotional and personal change, an aspiration, a metaphor: all these things at once.”
As I re-see the poems in leadbelly with a different framework, I am reminded how the way we group, categorize, thematically arrange, and shelf literature can limit or expand our experiences of literature. We put the poems under one category or another, and it’s hard to imagine what else it can be.
Dungy’s Black Nature is important, because it acknowledges the African American perspective these 93 poets highlight while introducing what else their work is – and how that “what else” amplifies our understanding of their works. As Dungy says, Black Nature “encourage[s] readers to divert their gaze into new directions, demanding they notice new aspects of the world and accept alternative modes of description.”
To put it another way, a book like Black Nature is like a hearing aid. It can give us that extra power to hear poetry in an even more powerful way. It can help us turn up the volume on that work – perhaps turn up the bass or the treble and experience the poem in a myriad of ways.
A guest blog written by Christina Smith, a student in Professor Ryna May’s literature class at Howard Community College
Admittedly, I had never attended a literary reading prior to the HoCoPoLitSo Irish Evening on February 10th. I hope that it is not too shocking that I say this, given that I am an English major. So, I am happy that I finally had the opportunity to experience a literary reading at the 39th Irish Evening held at the Smith Theater at Howard Community College.
Before I went I knew little about the program, only that the author would read from at least one of her two books, and that there would be Irish music and dancing for entertainment. Even though my friend Amy and I were probably some of the youngest people to attend that night, I did not feel awkward there. On the faces of the people there, you could tell everyone was having a fantastic time. The entire evening was a hit.
I was shocked to see that the program boasted the Ambassador of Ireland, her Excellency Anne Anderson. She was very gracious, and it was impressive that Mrs. Anderson was able to join us for the Irish Evening despite her busy schedule. A list of her accomplishments made me feel lazy and slightly light-headed at the enormity of her dedication to civil rights and women’s right’s worldwide.
While I like to think myself well read, I had not been made familiar with Belinda McKeon’s work. It was a treat to have her read from both her books, Solace and Tender. I was quite taken with her reading from Tender as I could feel the insecurities that her characters suffered from, the anguish of unrequited love and how truly awkward it is to be a young 18-year-old. She was witty and kind with her characters, as though greeting an old friend. Hearing the author read her own work gives you an idea of how those characters really present themselves in her mind. From her reading, the audience got a feel that these characters were real, that they had pains, hopes, flaws, and humor.
I loved the reading from Tender so much that I even ordered it from Amazon when I got home. Now when I read it, I will have the added pleasure of knowing how the author intended for it to be read. And in a way I will be able to connect with the characters on a more personal level.
The evening wrapped up with a performance from the Narrowbacks and Irish step dancing by the Culkin School. The music was traditional Irish music, a perfect nightcap to a fantastic evening.
I admit that I got some strange looks when I told people about my Friday night, but it was definitely worth it to let my inner nerd have a fun evening. I look forward to attending more events produced by the HoCoPoLitSo.
And a big thank you to Professor May for making it possible for me and a plus one to attend.
By Christina Smith
HoCoPoLitSo’s guest for its ninth annual Blackbird Poetry Festival is award winning writer and slam poet Tyehimba Jess. The Blackbird Poetry Festival, to be held April 27, 2017, on the campus of Howard Community College, is a day devoted to verse, with student workshops, book sales, readings and patrols by the poetry police. The Sunbird poetry reading, featuring Mr. Jess, as well as Washington, D.C., writer and literary activist E. Ethelbert Miller and Howard Community College students, will start at 2:30 p.m. Mr. Jess will read from and discuss his most recent work, Olio, as well as leadbelly, winner of the 2004 National Poetry Series, during the Nightbird Poetry Reading, starting at 7:30 p.m. in the Smith Theatre of the Horowitz Center for Visual and Performing Arts. Nightbird admission tickets are $15 each (students and seniors are $10) available on-line at http://www.brownpapertickets.com/event/2551545 or by sending a self-addressed envelope and check payable to HoCoPoLitSo, 10901 Little Patuxent Parkway, Horowitz Center 200, Columbia, MD 21044.
Tyehimba Jess, Associate Professor of English at College of Staten Island, a Cave Canem and NYU alumnus, received a 2004 Literature Fellowship from the National Endowment for the Arts and a 2006 Whiting Fellowship. He is also a veteran of the 2000 and 2001 Green Mill Poetry Slam Team. With rare skill, Jess welds the immediacy of slam poetry with the craft of poetry on the page.
Jess is the author of two poetry collections: leadbelly (2004), a biography in poems of the legendary blues musician Huddie “Lead Belly” Ledbetter, and Olio (2016), about African American performers from before the Civil War up to World War I. About Olio, 2011 National Book award winner Nikky Finney said: “Tyehimba Jess is inventive, prophetic, wondrous. He writes unflinchingly into the historical clefs of blackface, black sound, human sensibility.” Jess’ fiction and poetry have appeared in many journals and anthologies including Angles of Ascent: A Norton Anthology of Contemporary African American Poetry, Beyond The Frontier: African American Poetry for the Twenty-First Century, Slam: The Art of Performance Poetry, American Poetry Review, and Ploughshares.
Ethelbert Miller, editor of poetry anthologies, author of two memoirs and numerous books of poetry, including his latest, The Collected Poems of E. Ethelbert Miller (2016), will read and offer workshops.
A guest blog submitted by Cara Caccamisi, a student in Professor Ryna May’s literature class at Howard Community College in Columbia, Maryland
Howard County Poetry and Literature Society’s 39th Annual Irish Evening, which took place at Howard Community College’s Smith Theater on Friday, February 10th at 7:30 pm, was an event of Irish pride and culture. Hosted by Columbia’s own Catherine McLoughlin-Hayes, the HoCoPoLitSo Irish Evening Chair, the evening was a great way to experience Ireland without leaving the state of Maryland.
The auditorium was filled with fascination, excitement, and anticipation from the many spectators, while musician Jared Denhard performed the Celtic Harp. Then, Ms. McLoughlin-Hayes came on stage to introduce the main event for the night. Her enthusiasm set the tone for the evening.
Ms. McKeon chose to read first from Solace which was awarded the Faber Prize and Irish Book of the Year. The passage she read described a conflicting relationship between father and son on a farm in Ireland. Ms. McKeon’s second reading was from her latest book, Tender, about two college friends who meet in Dublin and become close; it shows the transformation of friendship from being teenagers to becoming adults. In her unique and exhilarating story, Ms. McKeon depicts the friend’s difficult relationship as Catherine grows strong feelings for James, who is a homosexual. The book grows extra complicated as it is set in the 1990’s when being homosexual was not widely accepted.
Following the author were the Narrowbacks. The Narrowbacks name is a tribute to the term immigrant, as many of the band members have roots in Ireland and they are inspired by the band, Celtic Thunder. The group members consisted of brothers, Jesse and Terence Winch, Dominick Murray, and Linda Hickman, all of whom were apart of Celtic Thunder. Other members were Terence’s son, Michael Winch and Eileen Estes, daughter of Celtic Thunder’s lead singer.
Many of the songs performed consisted of main themes of nature, growing up as an immigrant, and love. One of the most memorable songs, “Childhood Ground”, was written by Terence Winch and sung by Eileen Estes. It remembers the time when the Bronx Expressway was built and shattered the homes of many Irish families, including Winch’s family home. Traditional Irish music is so distinctive as it combines poetry of hardships, life, and love with rare instruments, known in Ireland. The Irish step dancers from the Culkin School performed during some of the songs played by the Narrowbacks.
With the outstanding performance by the Narrowbacks and the talented step dancers, the audience was very well-entertained. The auditorium was filled with the sound of Ireland, and the spectators joined in on clapping hands and nodding their heads to the music. And Belinda McKeon, a truly brilliant writer, left the listeners craving more of the stories.
HoCoPoLitSo created an enjoyable evening and allowed the viewers a chance to spend an evening immersed in Irish culture.
Join the Howard County Library and HoCoPoLitSo for a special screening of the documentary filmA Thousand Years of Joy, which charts the path of revolutionary poet Robert Bly from Minnesota farmer’s son to radical anti-Vietnam War activist to wild man of the 1990’s men’s movement. Best known as the author of the bestseller Iron John, which launched a million men drumming in the woods, Bly has been both celebrated and vilified, but above all has persisted in championing the power and importance of poetry in today’s America.
Robert Bly was a guest of the Howard County Poetry and Literature Society in June of 1997. During his visit, co-sponsored by the Columbia Festival of the Arts, he led a workshop at Howard Community College, presented a reading in the Smith Theatre and taped an edition of The Writing Life with Cornelius Eady.
HoCoPoLitSo and Wilde Lake Community Association present Of Stars and Hurricanes: Two Columbia Novelists Return. Former Columbia residents Carrie Brown and John Gregory Brown will read from their work at a celebration of literature’s history in this planned city. HoCoPoLitSo will also honor two of Columbia’s own forces of nature, Padraic and Ellen Kennedy, for their work creating a literary life in Howard County during this special event on June 4, 2017. A reception will follow.
Of Stars and Hurricanes will be held on June 4, 2017, beginning at 4 p.m.at Slayton House Theatre, 10400 Cross Fox Lane, Columbia, MD 21044. Admission tickets are $20 each available on-line at http://www.brownpapertickets.com/event/2725249 or by sending a self-addressed envelope and check payable to HoCoPoLitSo, 10901 Little Patuxent Parkway, Horowitz Center 200, Columbia, MD 21044.
Ellen Conroy Kennedy, a National Book Award finalist and the founder and director emeritus of HoCoPoLitSo, and Padraic Kennedy, the “unofficial mayor” of Columbia for 25 years, as the Columbia Association president from 1972 to1997, are long term Wilde Lake residents. Their support for the literary arts as Columbia developed through the years will be honored during this special celebration.
The Browns met while working for the Columbia Flier, married at Oakland Manor and lived in Wilde Lake for more than ten years. Both Browns live in Virginia and teach at Sweet Briar College. John, the author of four novels, has honors including a Lyndhurst Prize, the Lillian Smith Award, the John Steinbeck Award, and the Louisiana Endowment for the Humanities Book of the Year Award. Carrie, the author of seven novels, has received a National Endowment for the Arts fellowship, a Barnes & Noble Discover Award, the Janet Heidinger Kafka Prize, the Great Lakes Book Award, and, twice, the Library of Virginia Award.
Carrie Brown’s most recent novel is The Stargazer’s Sister, historical fiction about the nineteenth-century astronomer Caroline Herschel, sister of the more famous astronomer William Herschel. The Washington Post listed The Stargazer’s Sister as one of the best 50 books of 2016. Carolyn Leavitt of the Boston Globe noted, “Brown’s writing is as luminous as the skies her characters contemplate.”
John Gregory Brown’s newest novel, A Thousand Miles from Nowhere, follows the path of a Hurricane Katrina survivor seeking redemption. The New York Times Book Review noted it was “ … a deeply humane look at the vulnerability of black lives, the changing contours of the New South and the restorative potential of literature in the aftermath of catastrophe.”
For more than 40 years, HoCoPoLitSo has nurtured a love and respect for the diversity of contemporary literary arts in Howard County. The society sponsors literary readings and writers-in-residence outreach programs, produces The Writing Life (a writer-to-writer talk show), and collaborates with other cultural arts organizations to support the arts in Howard County, Maryland. For more information, visit www.hocopolitso.org.
HoCoPoLitSo receives funding from the Maryland State Arts Council, an agency funded by the state of Maryland and the National Endowment for the Arts; Howard County Arts Council through a grant from Howard County government; The Columbia Film Society; Community Foundation of Howard County; the Jim and Patty Rouse Charitable Foundation; and individual contributors.
Posted by Laura Yoo
This Christmas season, give the gift of reading! Here’s my shopping list for the grownups and the little people on my list.
The links will take you to Amazon. Don’t forget to shop Amazon Smile and choose Howard County Poetry and Literary Society for your charity!
For the Little People
The Book With No Pictures by B.J. Novak $10.99 – This one is my kids’ absolute favorite. They think it’s so hilarious and love making the parents read it – but they also enjoy reading it themselves to say the funny words, especially “butt”.
Ninja Red Riding Hood by Corey Rosen Schwartz $12.80 – This one is actually one of my favorites. I love retelling of fairy tales and I love this little ninja girl version of Red Riding Hood.
Encyclopedia Brown set of 4 books – $12.19 – I loved reading these books when I was a kid – time to get the next generation hooked!
Curious George Around Town – $8.29 – Curious George is probably my favorite series in little, little people books.
For the Grownups
The Vegetarian by Han Kang $8.92
“Celebrated by critics around the world, The Vegetarian is a darkly allegorical, Kafka-esque tale of power, obsession, and one woman’s struggle to break free from the violence both without and within her.” – Amazon
The Underground Railroad by Colson Whitehead $16.17
“The National Book Award Winner and #1 New York Times bestseller from Colson Whitehead, a magnificent tour de force chronicling a young slave’s adventures as she makes a desperate bid for freedom in the antebellum South” – Amazon
Vaseline Buddha by Jung Young Moon (translated by Jung Yewon) $10.13 –
“A tragicomic odyssey told through free association scrubs the depths of the human psyche to achieve a higher level of consciousness equal to Zen meditation. The story opens when our sleepless narrator thwarts a would-be thief outside his moonlit window, then delves into his subconscious imagination to explore a variety of geographical and mental locations—real, unreal, surreal—to explore the very nature of reality.”- Amazon
“A true essay is ‘something hazarded, not definitive, not authoritative; something ventured on the basis of the author’s personal experience and subjectivity,’ writes guest editor Jonathan Franzen in his introduction. However, his main criterion for selecting The Best American Essays 2016 was, in a word, risk.”- Amazon
“This graphic adaptation by Jackson’s grandson Miles Hyman allows readers to experience “The Lottery” as never before, or to discover it anew. He has crafted an eerie vision of the hamlet where the tale unfolds and the unforgettable ritual its inhabitants set into motion. Hyman’s full-color, meticulously detailed panels create a noirish atmosphere that adds a new dimension of dread to the original story.” – Amazon
Happy gifting! And don’t forget to select Howard County Poetry and Literary Society on Amazon Smile!
HoCoPoLitSo’s guest for its annual Irish Evening on February 10, 2017 is the award-winning writer and playwright Belinda McKeon. McKeon’s reading will be followed by Narrowbacks Eileen Korn Estes, Jesse Winch, Terence Winch, Linda Hickman, and Michael Winch in a concert of traditional Irish music, with stepdancers from the Culkin School. The Narrowbacks will be performing music from their newly released This Day Too: Music from Irish America with Terence Winch, Michael Winch, & Jesse Winch. This is the first album featuring new material from Terence Winch-composer of many of the original Celtic Thunder’s best-known songs- in almost ten years. Irish beverages and snacks will be available.
Belinda McKeon’s debut novel, Solace, won the 2011 Faber Prize and was voted Irish Book of the Year, as well as being shortlisted for the James Tait Black Memorial Prize. Her second novel, Tender, was shortlisted for the Eason Book Club Novel of the Year at the 2015 Irish Book Awards. The Irish Book Awards website noted “Brave, moving and powerfully told, Tender confirms Belinda McKeon’s status as one of the most exciting contemporary voices in Irish fiction.” About her second novel, Kirkus (starred review) said “Exquisite…Captures something essential about vulnerability, love and longing.” A Kind of Compass: Stories on Distance, edited by McKeon, was published in 2015. Her essays and journalism have appeared in the Irish Times, the New York Times, the Paris Review, the Guardian, A Public Space and elsewhere. As a playwright, she has had work produced in Dublin and New York. Fiona Wilson, The Times (U.K.), noted “McKeon is a superb and sophisticated writer, who captures the barely articulable feelings between young people on the brink of adulthood.”
McKeon joins a long list of luminary Irish authors HoCoPoLitSo has brought to Howard County audiences, including Frank McCourt, Colm Tóibín, Anne Enright, Colum McCann, and Emma Donoghue. For 39 years, HoCoPoLitSo’s Irish Evening has celebrated the substantial impact of Irish-born writers on the world of contemporary literature.
The evening begins at 7:30 p.m. in the Smith Theatre of the Horowitz Center for Visual and Performing Arts on the campus of Howard Community College. General admission tickets are $35 each; available on-line at http://www.brownpapertickets.com/event/2716229 or by sending a check and self-addressed envelope to HoCoPoLitSo, 10901 Little Patuxent Parkway, Horowitz Center 200, Columbia, MD 21044. Each ticket purchased by January 15th includes a complimentary adult drink.
HoCoPoLitSo works to cultivate appreciation for contemporary poetry and literature and celebrate culturally diverse literary heritages. The society sponsors literary readings and writers-in-residence outreach programs, produces The Writing Life (a thirty-minute writer-to-writer talk show), and partners with the public schools and cultural organizations to support the arts in Howard County, Maryland. For more information, visit www.hocopolitso.org.