introduction from Elena Karina Byrne for a reading I did:
Catherine Daly is a scholar of many talents: technical architect, investment bank officer, software developer, and the one who is visible here, poet. Daly is an artisan of language, a poet who bargains with the abstract handing over an offer the mind can't refuse. Immediately, we experience that necessary "false measure," the inversion in language, always "negotiating between sentiment and sediment," somewhere inside the ellipse, the eccentric orbit or juncture where the poet likes to hover. Her wonderful reconfiguration of the world is both "hook and capitulation" placed, almost inadvertently "in the seat of emotion... nothing like a rose, not a locket." The panorama here is interior; the foreboding is backwards, the construct, untitled. Catherine Daly's strength resides in her diction, her deft movements where even language's disjoint moves freely.
With a practitioner's eye, Daly makes sure the view is clear, even when it is a counterpart view. Let's welcome everything her new work offers, "source, recourse," and finally that rare breed "racehorse" we might call this poet.
Like Andrew Maxwell, Elena Karina Byrne's briefer reviews and introductions are publishable, and they are written to a publishable whole -- one hopes that both collections see the light of day eventually.
I am wondering if my own reviews ever will. Not if I can't finish them, but I have enough time wedging in the poems, and, of course, a more established routine for them...
Catherine Daly is a scholar of many talents: technical architect, investment bank officer, software developer, and the one who is visible here, poet. Daly is an artisan of language, a poet who bargains with the abstract handing over an offer the mind can't refuse. Immediately, we experience that necessary "false measure," the inversion in language, always "negotiating between sentiment and sediment," somewhere inside the ellipse, the eccentric orbit or juncture where the poet likes to hover. Her wonderful reconfiguration of the world is both "hook and capitulation" placed, almost inadvertently "in the seat of emotion... nothing like a rose, not a locket." The panorama here is interior; the foreboding is backwards, the construct, untitled. Catherine Daly's strength resides in her diction, her deft movements where even language's disjoint moves freely.
With a practitioner's eye, Daly makes sure the view is clear, even when it is a counterpart view. Let's welcome everything her new work offers, "source, recourse," and finally that rare breed "racehorse" we might call this poet.
Like Andrew Maxwell, Elena Karina Byrne's briefer reviews and introductions are publishable, and they are written to a publishable whole -- one hopes that both collections see the light of day eventually.
I am wondering if my own reviews ever will. Not if I can't finish them, but I have enough time wedging in the poems, and, of course, a more established routine for them...
Comments