Kevin Young

Yeah, yeah, I love that.

Well, I love, too, and I firmly believe that, you know, of course, Karamor is a place, and it's invested with the kind of landscape you're discussing, but it also is a place she invents in the sense that she invests it with her own ideas all about Karamor.

the lambs were blotched blue belonging.

I mean, this is such an opening, you know, and all about implies that in a way that Caramore is, if not everywhere, then it's sort of internal as well as external.

And there's something musical and magical about that.

And all those B sounds, lambs, blotched blue belonging.

Oh my God, yes.

And we're sort of moving through these sounds.

And then we get, you know, I've actually been

to Ireland.

This is in Ireland.

I haven't been to Caramore, but I've been throughout Ireland, which they do do this instead of say, you know, you might brand something.

These blue marks of ownership or, you know, and they come out when they shear the wool.

But, you know, there's a kind of amazing thing where you see all these sheep and lambs all around and then you have this marking.

That's just, there's something kind of

Beautiful and eerie.

And as she says, they're ignoring you.

They don't care about you.

But there's something about that I think that is not a memento mori or maybe that is a memento mori.

Like they aren't concerned with death.