To mark National Poetry Month in the United States, Punctured Lines asked two poets with recently published collections to interview one another. Both poets have strong personal and professional connections to the larger Russophone world. Natalya Sukhonos’s A Stranger Home (Moon Pie Press) explores themes of the mother-daughter connection, grief and loss, and finding someone and something to love in locales ranging from Odessa to San Francisco. Katherine E. Young’s Woman Drinking Absinthe (Alan Squire Publishing) concerns itself with transgressions, examined through a series of masks, including Greek drama, folk tales, Japonisme, post-Impressionism, opera, geometry, and planetary geology. In addition to their written comments, Sukhonos and Young have also produced a short video conversation highlighting several poems from each collection.
Please support the poets by buying their books.
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[Katherine E. Young interviews Natalya Sukhonos about A Stranger Home.]
Katherine E. Young: Your book is set in so many places: San Francisco, Odessa, Rome, New York City. And yet the theme of leaving old places and finding new ones, finding “home,” seemingly plays only a minor role in the book. This book doesn’t dwell on typical themes of emigration / immigration; instead, there are the constants of familial love, amorous love, and putting down roots wherever the earth will accept them. Even the ghosts in your book travel with the speaker and seem at home in multiple cultures. In that context, please talk a little about the line “Home. A dreamscape we flee until it consumes all others” from “The Red Farmhouse.”
Natalya Sukhonos: Thanks for this interesting question, Kate. I think that home is a very fraught concept for me. I’ve moved around a lot—from Odessa to New York, then to Boston and San Francisco, with Turkey and Rio de Janeiro as short sweet sojourns in between, and then back to New York. Each of these places romanced me, intrigued me, made me want to stay there forever—until it didn’t. San Francisco, for instance, was enchanting but forbidding in terms of living expenses, though I still find it very beautiful and have good friends there. And Naomi was born there, which makes it forever special. Why is home a “dreamscape we flee”? I guess I’ve always had that desire to flee, to carve my own path. I’m grateful to my family, but like many families, it imposed its own vision of me which I often longed to tweak or even contradict. But I ended up returning to New York—returning home with my own family, creating my own home, a kind of mise-en-abyme, if you will. Though “The Red Farmhouse” was written before the pandemic, you can see how home and family have become all-consuming entities especially now, for better or for worse.
Katherine E. Young: Mothers and daughters inhabit almost all of these poems, and sometimes the connection is fraught, as in “My Personal Vampire.” Other poems such as “Nadia” celebrate “the wild grasses of love.” The second section of the book contains poems that grieve the loss of a mother. Talk a little about the importance of the mother-daughter connection in these poems.
Natalya Sukhonos: We moved to New York City from San Francisco after my mother was diagnosed with stage 4 ovarian cancer. This collection came out of the process of grieving for her and remembering her. My mother read Gogol’s Dead Souls to me and recited Russian poetry, which she knew inside out—Pasternak, Akhmatova, Tsvetaeva, you name it. She was dramatic, a smart dresser, and had an easy laugh. My mother and I were really close, and four years later, I’m still grieving. The poems in this collection try to ask “why,” but they also try to remember. Simone Weil once said that attention is the purest form of prayer, and this resonates with me even though I’m agnostic. I wanted to pay attention to the little details about her life—her love of gardening, for instance—and also record the process of losing her. When she was gone, I felt really unmoored, as if I didn’t know who I was. But as I was writing the collection, I also had to mother my two-and-a-half year-old daughter Naomi, who is now six. In “Theater of Bones” and “The Lioness and the Wolf, or Words as Prehistoric Shells” I tried to record how she was processing death and grief through questions and magical thinking. And I wanted to be honest about how damn difficult it is to be a mother. Motherhood is often romanticized, but not enough attention is paid (especially by men) to the loneliness, the self-doubt, the very physical burdens that motherhood places on you (hence the comparison of a baby to a vampire). Almost two years ago, I had another baby, Nadia, who bears my mother’s name (Tamara) as a middle name. It’s been delightful to watch the beginning of another life, to do it all over again. And I felt like having this new baby and also reflecting on mothering Naomi has made me reclaim motherhood in a way that wasn’t painful or grieving. At the same time, motherhood made my connection to my mother stronger.
Katherine E. Young: Several of your poems speak of the body as a map, and the poems often feel as if bones, stones, shells, forests, and especially stars are of much more importance and permanence than human constructs of geography and cartography. Talk about the stars and other natural phenomena that inhabit so many of your poems.
Natalya Sukhonos: When I lived in the Bay Area, I was really awakened to the beauty and power of nature because it was everywhere: step seconds away from your house and be surrounded by a giant mountain and giant eucalyptus trees! And the cold sublime of the Pacific! I think that as someone who has lived in cities all her life, I’m puzzled by the natural world, and that gives me comfort—the fact that the ocean just IS, that it doesn’t have to fit into a human story. It has its own story, which we may or may not understand. Maybe this sounds too mystical or vague, but for me what can’t be put into language can provide a source of relief. There’s something important about the fact that my mother loved to garden, and I don’t practice this at all. Or that we witnessed the Pacific Ocean roaring on a remote beach together. Why is this significant? Well, only poems can tell.
Also, the poem where I am a lioness and my husband is a wolf speaks to the way children construct mini-narratives around everything they see, and those stories are often filled with magical, dangerous forests and nature that’s comprised of signs only they could decipher, a sort of Baudelairean forêt des symboles. I think Naomi has taught me a lot about seeing nature this way.
Katherine E. Young: Your poems often reference classical myths, as well as modern literature. In one of my favorite poems, the ekphrastic “Night Sky #16 by Vija Celmins,” the speaker remembers her mother reading from The Little Prince, interleaving references to Saint-Exupéry’s book with lines from Rainer Maria Rilke’s “Elegy 1.” You have a PhD in comparative literature. What is the importance of literature, both classical and modern, to your poems?
Natalya Sukhonos: Believe it or not, literature has always had a sensory or sensual appeal for me. When I was eight years old, I had a sudden epiphany that every book, every author has their own flavor. Since then, literature has always been a huge part of my life: the first time I met my husband, I recited Rilke’s first elegy on the street, for instance. Given that the book revolves around my mother’s life and her legacy, literature plays a vital role in this, too. My mother loved The Little Prince with a passion, and staged it at Camp “Idea” where she was the director and where I worked. The love of literature is something that she and I shared in a way that was rhapsodic and visceral. When I started to write seriously, I couldn’t help but interweave little strands of whichever author I was reading—Borges, Elena Ferrante, Baudelaire—into my poetry. I do this in ordinary conversation, and poetry is another such conversation. For me, literature poses essential questions about identity, existence, good and evil in a way that is liberating because it inspires you to look further. The Master and Margarita, which I’m teaching in the Fall for Stanford Continuing Studies, is one such book, so key to me that I reread it every five years or so. One of my favorite lines by Emily Dickinson is “Tell all the truth but tell it slant.” In The Master and Margarita, Woland does this by asking what the Earth would look like if it were stripped of its shadows. In a “slant,” indirect way, Bulgakov is talking to us about the interconnectedness of good and evil, and for me, this idea is interesting precisely because of the way in which it is conveyed—through slant, poetic meaning.
Katherine E. Young: While free verse is a part of contemporary Russian poetry, it’s a relatively recent formal development, and plenty of Russian poets still write in rhyme and meter—many more than do so in contemporary American poetry. Can you tell me about the formal choices you made in writing these poems and how you came to make them?
Natalya Sukhonos: Even though I grew up reading Pushkin, Pasternak, Akhmatova, Brodsky, and Khlebnikov, when I came of age as a poet writing in English, I was more captivated by the free verse of Mark Strand and Wallace Stevens. That said, T. S. Eliot’s Four Quartets and their mosaic of mythologies and truth-seeking has always fascinated me, and Eliot plays around with rhyme and meter quite a bit.
In my own writing I try to be cognizant of the length of my lines and stanzas, the end words on each line, and the “volume” of words on a page. This all contributes to the way I see sound as vital to any poem’s meaning. So in “Parachute” I play around with the length of the lines to imitate the falling parachute of the poem’s title. I let the form carry the tension of my grandfather jumping off a parachute exactly 94 times during World War II. But “Aphrodite,” for instance, is composed of tercets because it’s a love poem, and I’m harkening back to tercets in Romantic poetry.
I do have some poems in here that experiment with form. “Pantoum of Grief and Birth” is a pantoum because I wanted to get at the repetitive, obsessive nature of grieving my mother while giving birth to my youngest daughter. “Protect Me, Lord” came out of an assignment in a poetry class where I had to put a Shakespearean sonnet into Google Translate twice, choose the best lines from what resulted, and also incorporate several colors, animals, and trees of our own choosing into the poem. And “Lost Souls—After Rilke” is actually a golden shovel, spelling out the first stanza of Rilke’s First Duino Elegy in the ending words of its stanzas. I like to be playful with form, so “In Failing Light” has alternating couplets that are formatted differently and interweave the event of remembering my mother while cooking potatoes and ramps with the actual memory of visiting the Pacific Ocean with her in San Francisco.
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[Natalya Sukhonos interviews Katherine E. Young about Woman Drinking Absinthe.]
Natalya Sukhonos: Especially in “Birdsong,” “The Bear,” and “Nakhla,” I noticed your interest in animals and animal imagery. Can you comment on the way that animals are linked to the theme of freedom vs. unfreedom in your poetry? On the one hand, they’re images of otherness, an alternate perspective, but on the other hand, they’re confined to particular places and spaces by their human subjects…
Katherine E. Young: Hm. I hadn’t thought about this at all before your question, but there are two main groups of animals in these poems. The first group includes birds, cats, the prehistoric sea creatures of “Nakhla,” snakes, a dissected frog, lizards, cicadas, monkeys, bats, the fig wasp, and an actual, historical dog who had an unfortunate encounter with an achondrite (a kind of meteorite). But with the possible exception of the fig wasp, these animals are mostly part of the background flora and fauna of the poems. The other group of animals is quite different: they’re talking animals, and they may not be animals at all. There’s the wish-granting fish of “The Golden Fish,” a tale I first read in Andrew Lang’s The Green Fairy Book (where the fish is an enchanted prince); I read Alexander Pushkin’s version of the tale much later. The enigmatic talking bear of “The Bear” is, of course, the performing bear of countless European folk tales, alternately menacing and pathetic, also possibly enchanted. For me, these creatures aren’t all that different from Bluebeard, the ogre who murders his wives, or the succuba who haunts a man’s waking hours, both of whom also appear in these poems. It’s these talking animals and monsters (or are they humans who have lost their essential human-ness?) who are truly unfree, trapped in enchantments, forced to perform for their supper, or condemned to fulfill various gruesome fates over and over again—they and the humans who become trapped in their tragic, endlessly repeating dramatic arcs.
Natalya Sukhonos: In “Nakhla” and “Euclidean Geometry” I was fascinated with your link between the macroscopic and the microscopic: cataclysmic events like the fall of a gigantic rock and human, intimate events such as a singular act of love. Please comment on this link in your poetry.
Katherine E. Young: Well, that’s the whole point, isn’t it? We go running around the world, eating, reproducing, defecating, dying, and from the biological perspective we’re doing just the same thing as ants. I don’t know what distinguishes one ant from another (although I’m told they sing to one another), and from a bird’s-eye perspective you can’t distinguish one human being from another, either. But when we write, when we make any kind of art, we’re saying “Stop! Look at me! I’m here!” Same for when we fall in love, which is also a kind of art. “Nakhla” started during a visit to the Smithsonian Air & Space Museum, where they have a fragment of this amazing achondrite from Mars that fell rather spectacularly in Egypt in 1911 (and apparently did kill a farmer’s dog). A run-of-the-mill igneous rock on Mars, 1.3 billion years old—the only thing unusual about it is that it got blasted off the Martian surface and ended up here on Earth. You can touch it! I was just charmed by the notion of this anonymous and yet singular rock—as anonymous and as singular as other such interplanetary travelers that brought things, including perhaps some of the elements of life, to Earth. Same for “Euclidean Geometry”: an act of love is both anonymous and singular, seemingly governed by laws and rules as ancient as the universe. Sometimes we mistakenly interpret those laws and rules, though—hence, logical fallacies such as circular logic.
Natalya Sukhonos: In “Today I’m Writing Love Songs” as well as “Place of Peace,” where you describe love as “bursting riotously into bloom,” you write beautifully about love as fruit. There is so much sensuality in your fruit metaphors! The poem “Fig” is a whole extended metaphor of love as a bloom as well, and it is stunning! And in “Succuba,” as well as “Today I’m Writing Love Songs” and “A Receipt to Cure Mad Dogs,” you connect love to herbs and their various flavors. Please say something about the ways in which the “tastes of love” resonate in your poetry through imagery of herbs and fruit.
Katherine E. Young: As I was writing these poems, just about everyone in my close circle, including me, was undergoing really big and often traumatic life changes. So, I was very much coming to the poems asking the hard questions: Who am I? Where am I in life? Am I the person I wanted to be, and if not, what can and should I do about that? The basic idea that one can more or less cultivate oneself as one cultivates a garden speaks to a certain kind of urgency one gets in midlife to take stock and make adjustments, sometimes radical ones. During that period, I was lucky enough to have some choices—not always easy ones, not always good ones, but real ones. To some degree, then, the notion of flowering in these poems is aspirational—what I hoped would happen if I took better, more conscious care of my garden, both for myself and for those I love. Also, I just really, really love figs!
Natalya Sukhonos: What’s the link between the mathematical and the erotic in your poetry? I’ve noticed many poems touching on math, and this was fascinating, maybe not least because I just finished Lara Vapnyar’s Divide Me by Zero.
Katherine E. Young: Excellent question! I don’t really have an answer, except to say that as a young person I wanted to be an astronaut—that’s also the reason I started studying Russian, by the way—and I felt very comfortable with math and science, at least until I ran afoul of a college calculus class. Much later, when I was getting my MFA, I took a wonderful course on the rhetoric of science, and I spent more time than I care to admit reading the Transactions of the Royal Society of London. I was fascinated by the mental steps that natural philosophers in the early nineteenth century had to take to be able to conceptualize dinosaurs out of a bunch of bone fragments stuck in rock. And you already know that I find odd bits of space debris decidedly erotic… Maybe I was seeking a system of beliefs and practices in math and science that might inspire me with more confidence than the beliefs and practices in human relationships that I had found simultaneously confining and unreliable—although true mathematicians and scientists would probably say that their laws and beliefs can be just as confining and unreliable…
Natalya Sukhonos: You are a professional literary translator who has received a National Endowment for the Arts Fellowship for translation. How does the work of translation inform your poetry (and I’m using “translation” here both in the literal sense of the word as well as the metaphorical process of translation)? Comment on the process of cultural translation, as your poetry includes intertextual references to Mrs. Pinkerton, the Golden Fish, Manet, Euclid, and so many other rich and unexpected sources.
Katherine E. Young: Honestly, I don’t really see much difference between writing “original” poetry and translating it. In both cases, making a poem starts with “translating” the impulse for that poem into words. Translating someone else’s impulse—as opposed to your own—is essentially the same process, although there are a few more steps involved. But I’m always trying to make music with words, whether the poem started in my own head or in someone else’s. There are particular benefits to being a translator, though: recently I was asked to translate a selection of poems by Boris Pasternak, and I found that every single one of Pasternak’s lines taught me something important about writing my own poetry in English.
As far as cultural translation, all the cultural flotsam and jetsam in this book comes from things I’ve squirreled away, from the mating habits of ancient sea creatures to Manet’s Bar at the Folies-Bergère, which I first saw in London as a teenager. A lot of my references come from the former Soviet Union, where I first traveled as a student. I didn’t really get serious about writing poetry until I lived in Russia in the 1990s, though—while there, I was lucky enough to read the entire canon of Russian poetry with a scholar who spoke no English. It was that immersion in Russian that helped me to hear my own language, English, with fresh ears—and it certainly helped make me a better poet. I like to joke that I’m the only American-born poet I know who owes more to Pushkin than to Walt Whitman—if that’s not cultural translation, what is?
Natalya Sukhonos is bilingual in Russian and English and also speaks Spanish, French, and Portuguese. She has taught at the Stanford Continuing Studies program for four years. She has a PhD in Comparative Literature from Harvard University. Her poems are published by The American Journal of Poetry, The Saint Ann’s Review, Driftwood Press, Literary Mama, Middle Gray Magazine, Really System, and other journals. Sukhonos was nominated for the Pushcart Prize in 2020 and 2015, and for the Best New Poets Anthology of 2015. Her first book Parachute was published in 2016 by Kelsay Books of Aldrich Press, and her second book A Stranger Home was published by Moon Pie Press. natalyasukhonos.com.
Katherine E. Young is the author of Woman Drinking Absinthe, Day of the Border Guards (2014 Miller Williams Arkansas Poetry Prize finalist), two chapbooks, and the editor of Written in Arlington. Her poems have appeared in Prairie Schooner, The Iowa Review, Subtropics, and many others. She has translated prose by Anna Starobinets and Akram Aylisli and two poetry collections by Inna Kabysh. Her translations of contemporary Russophone poetry and prose have won international awards. Young was named a 2020 Arlington, VA, individual artist grantee; a 2017 NEA translation fellow; and the inaugural poet laureate for Arlington, VA (2016-2018). https://katherine-young-poet.com
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