Lilies on the Deathbed of Étaín and Other Poems: A Powerful Exploration of Love, Life, Death, and Migration
Lilies on the Deathbed of Étaín and Other Poems by Oisín Breen is a haunting and experimental collection of poetry that explores themes of love, life, death, migration, and nature. Breen's work is characterized by his unique blend of sensuality, nostalgia, and mortality, and his use of experimental form to explore these themes is nothing short of extraordinary.
The collection begins with a piece that showcases Breen's talent for experimental form. Titled I, this poem details the life of a mother figure from multiple perspectives and temporal instances. The result is a powerful and thought-provoking exploration of the complexity of human relationships and the fleeting nature of life.
The second piece in the collection, titled II, is a sonic and formally experimental work that addresses love in a simple yet powerful way. The speaker yearns for the "pure milk of the word" and other sensual pleasures but acknowledges that these desires are beyond their reach. The poem then takes a darker turn, with the speaker reflecting on the arrival of winter and the departure of youth, and turning to memories of those who have passed on. The poem's connection to ancient traditions and mystical practices is suggested by the gabble of the yarrow stalk, hexagrams, and the wooing of Étaín.
The final stanza of the poem is particularly striking, with its images of scarlet traces on breasts and a "beautiful painted corpse." The poem seems to be exploring the idea of death as the ultimate fulfilment of desire, a "true vision of abundance" that can only be reached through the loss of youth and the passage of time.
In the midst of Lilies on the Deathbed of Étaín and Other Poems, II stands out for its haunting imagery and poignant reflections on life and death. Breen's use of language-as-form and language-as-music is evident throughout the collection and adds a layer of depth and complexity to each piece.
Breen's understanding and application of poetic theory are influenced by the interrelationality that exists between language-as-form and language-as-music. As a PhD candidate at the University of Edinburgh studying the relationship between the complexity paradigm and narratology, Breen's work is characterized by its depth and complexity.
The fourth poem in the collection, titled IV, explores the intimate and sensual experience of two people walking together in late October. The air is sharp and heavy with moisture, and they move in syncopated beat like a pair of lust-drunk metronomes. As they walk, they begin to unravel each other like a well-worn coat, and the speaker's desire is palpable as they grip their companion's waist ardently.
The darkness that surrounds them is described as both exciting and soporific, an incantation to burrow into each other's skin. The speaker's hunger for their companion is emphasized, and they convey their sense of smallness and the consuming nature of their desire. The poem is full of sensory imagery, from the cooling sand of the desert to the surging starlight in the sky.
Despite the vivid imagery, the poem ends with a stark contrast as the speaker reflects on their companion's eyes, which do not unsheathe stars. It is a reminder of the finite nature of their connection and the fleeting nature of their intimacy.
IV is a beautifully written exploration of the physical and emotional intimacy between two people, set against the backdrop of a dark and sensory landscape. The poem's vivid imagery and sensory language draw the reader into the experience and leave a lasting impression.
Breen's inspirations are diverse and include absurdism, avant-garde, Irish writing, European writing, and all writing that values art above all else.
Oisín Breen, 37 is an Irish poet, journalist, and academic, working in the field of narratological complexity. A Best of the Net nominee, Breen is published in 100 journals, across 20 countries, including the Tahoma Literary Review, North Dakota Quarterly, About Place, New Critique, Northern Gravy, Reservoir Road, and the Madrigal. This collection follows Breen’s well-received debut Flowers, All Sorts in Blossom, Figs, Berries, and Fruits Forgotten, published by HybridDreich in March 2020. You can find Breen on Twitter: @Breen, and on Mastodon: @Breen@mastodon.ie.