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With intimacy and depth of insight, Henrietta Goodman’s Hungry Moon suggests paradox as the most basic mode of knowing ourselves and the world. We need hunger, the poems argue, but also satisfaction. We need pain to know joy, joy to know pain. We need to protect ourselves, but also to take risks. Though the poems are drawn from personal experience, Goodman shares the conviction of such poets as Anne Sexton and Louise Glück that when the poet writes of the self, the self cannot be exempt from culpability. Goodman’s speaker ranges through time and locale—from exploring the experience of flying in a small plane with her lover/pilot over the landscape of the American West to addressing the grief and retrospective self-scrutiny that arise from a friend’s death. Like the work of Mark Doty and Tony Hoagland, Goodman’s poems embrace concrete particularity, entangled as it is with imperfection and loss: “the Quik Stop’s fridge full of sandwiches and small bottles of livestock vaccines,” “the black, hammer-struck moon of your thumb,” “the empty water tower, one rusted panel kicked in like a door.”
This spirited debut applies the analytic and somatic to realities and mysteries of love and motherhood.
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In these linked sonnets, a young woman wrestles with her repressive upbringing and Southern culture. Raised by a jaded, critical mother and eccentric aunt, and haunted by an absent father, she constructs myths and truths of family and marital love that confine and release her as she navigates her own sexuality and capacity for intimacy.
America's famous steel mill town, Gary, Indiana, was created by U.S. Steel Corporation in 1906. The city quickly developed as a diverse labor pool was drawn to the area by the promise of steady work and greater opportunities. This diversity created distinct neighborhoods and cultural centers, but also brought about a conspicuously segregated Gary. Wealthy steel mill executives plotted the north side of Gary, while newly arriving laborers were relegated to an area south of Ninth Avenue known as the "Patch." Soon, however, African-American leaders organized the "Central District," a city within a city for themselves with desirable housing, good schools, and active clubs and community organizations.
"Our Family Tree, as far as is known, was first planted in America by the Reverend Mr. James Clack, who came from Marden, in Wiltshire, England, to Gloucester County, Virginia, as a minister of the Established Church in the year 1678. It was his grand daughter, Sarah Clack, daughter of James Clack II, who married William Maclin III, in Brunswick County, Virginia, in 1754"--Forward. Descendants and relatives lived in Tennessee, Virginia, Arkansas, Missouri, Iowa, Texas, Nebraska, Kentucky, Louisiana and elsewhere
In 2001 Steve Edwards won a writing contest. The prize was seven months of “unparalleled solitude” as the caretaker of a ninety-two-acre backcountry homestead along the Rogue National Wild and Scenic River in southwestern Oregon. Young, recently divorced, and humbled by the prospect of so much time alone, he left behind his job as a college English teacher in Indiana and headed west for a remote but comfortable cabin in the rugged Klamath Mountains. Well aware of what could go wrong living two hours from town with no electricity and no neighbors, Edwards was surprised by what could go right. In prose that is by turns lyrical, introspective, and funny, Breaking into the Backcountry is the...
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Winner of the Backwaters Prize in Poetry, this collection teems with creatures and cosmic phenomena that vivify and reveal our common struggle toward faith and identity.