» » Wild Sweet Notes: Fifty Years of West Virginia Poetry 1950-1999

Wild Sweet Notes: Fifty Years of West Virginia Poetry 1950-1999 epub

by Barbara Smith,Kirk Judd

Wild Sweet Notes: Fifty Years of West Virginia Poetry 1950-1999 epub

ISBN: 0967605105

ISBN13: 978-0967605104

Author: Barbara Smith,Kirk Judd

Category: Literature and Fiction

Subcategory: Poetry

Language: English

Publisher: Publishers Place Inc (November 1, 2000)

Pages: 418 pages

ePUB book: 1633 kb

FB2 book: 1163 kb

Rating: 4.7

Votes: 923

Other Formats: doc lrf docx lrf

The poems in Wild Sweet Notes will tug at the heartstrings of those who know the Mountain State. Normally, poetry isn't my "thing," but I was introduced to this collection years ago in college while taking a required poetry class.

The poems in Wild Sweet Notes will tug at the heartstrings of those who know the Mountain State. - WV University Alumni Magazine - Summer 2001. She is a retired Dean of Humanities at Alderson-Broaddus College, Philippi, West Virginia. Now, this book, a glass of wine, and some fantastic music makes for a wonderful evening.

Wild Sweet Notes book.

Close X. Learn about new offers and get more deals by joining our newsletter.

think, then say, "God. amp;quot;What would someone who is brave do?" You answer quickly, "Walk through rose bushes. What would someone who is brave do?" You answer quickly, "Walk through rose bushes. Christine Lamb Parker in Wild Sweet Notes: Fifty Years of West Virginia Poetry, 1950-1999, ed. Barbara Smith and Kirk Judd, Publisher's Place, 2000.

The Telltale Lilac Bush and Other West Virginia Ghost Tales (Ruth Ann Musick). 10. Time Is a River (Mary Alice Monroe).

6. Caleb's Crossing (Geraldine Brooks). 7. A Thousand Splendid Suns. 8. Grimm's Fairy Tales. 9. The Telltale Lilac Bush and Other West Virginia Ghost Tales (Ruth Ann Musick).

They were inaugurated for 1971 publications and known as the Whitbread Book Awards until 2006 when Costa Coffee, then a subsidiary of Whitbread, took over sponsorship. The companion Costa Short Story Award was established in 2012.

SIDELIGHTS: Poet, memoirist, and fiction writer Jeff Mann explores themes of gay sexuality, Appalachia, and rites of manhood in his work.

14 best poetry books

14 best poetry books. To mark National Poetry Day, we've picked our favourite collections of poetry from Larkin to Wordsworth. Emma Lee-Potter LeePotter. Thomas Hardy preferred his poetry to the novels that made him famous, writing beautifully about the wild Dorset countryside where he grew up, wind and rain, churchyards and nature. He wrote some of his finest love poems in his later years, many of them harking back to the early days of his relationship with his first wife, Emma Gifford.

Wild Sweet Notes(Illustrated) Fifty Years of West Virginia Poetry 1950-1999 by Barbara Smith, Kirk Judd, Illustrator-Jan Dickinson, Kirk Judd Hardcover, 432 Pages, Published 2000 by Publishers Place ISBN-13: 978-676051-1-1, ISBN: 676051-1-3.

Woolf was ten years older than Sackville-West, and seemed to feel inferior . Virginia Woolf’s Handwritten Suicide Note: A Painful and Poignant Farewell (1941).

Woolf was ten years older than Sackville-West, and seemed to feel inferior to her lover, comparing herself unfavorably in a sexy 1925 diary entry . Their love and friendship will also soon produce a film, Vita and Virginia, directed by Chanya Button and written by Dame Eileen Atkins. And, if you were wondering what Vita and Virginia’s passionate exchanges would sound like in a 21st century idiom, have a look at The Collected Sexts of Virginia Woolf and Vita Sackville-West at The New Yorker.

Only 250 made. Special binding, numbered & signed with a slipbox.
This is my second copy of this book. Normally, poetry isn't my "thing," but I was introduced to this collection years ago in college while taking a required poetry class. Now, this book, a glass of wine, and some fantastic music makes for a wonderful evening.
Wild Sweet Notes: Fifty Years of West Virginia Poetry leaves me in awe of the poetic achievements of West Virginia writers. Rarely does a poetry collection read as compellingly as a novel and possess the same power to hold a reader so strongly in its grip that it is nearly impossible to put the book down. But Wild Sweet Notes accomplishes this and more and in the process reveals that West Virginia is not an intellectual and cultural black hole but rather a place where poetry is a natural and necessary response to life in a harsh, unyielding and sometimes strange place. These poets could all be Welsh given the way they see and feel and touch their world and let it touch them; the way they use language and the music of words to capture the experience of the mines and miners, the black and barren waste of land and men, the mystery of the back-woods hollows and mountains and people who live there, the dreams of the young and the memories of the aged. West Virginia surprises the visitor in many ways - its beauty, its drama, the tenacity and strength of its people, its landscape where nature nurtures and destroys. It is a land where appearances are illusions, where the man who runs the little roadside grocery could have the wisdom of a sage and the heart of a poet. But who would know it from his rumpled clothes, his weathered face and gnarled hands, except perhaps by looking into his eyes and reading what they have to say. Wild Sweet Notes is not a simplistic down-home collection of local poetry, but rather a universal journey through time, the mind, landscapes, essences, and the enduring spirit of people and a place so little known, so misrepresented and so misunderstood. Few poetry collections are as satisfying, moving, enlightening and rewarding as Wild Sweet Notes.
During one of my too-infrequent visits back home, I bought a copy of this anthology at the West Virginia Writers' booth at the 2006 West Virginia Book Fair in Charleston, not knowing what to expect but willing to bet some bucks I would find it worthwhile. In retrospect I don't see any way I could have been prepared for the cascading epiphanic experiences that followed upon reading it. I was up half the night, alternately laughing, crying and struck dumb by the sheer recognition these poems triggered in me. For several weeks afterward I felt as if there were a new dimension visible in the world as I experience it--I had gotten in luminous touch with the West Virginian I was forced to suppress when I out-migrated three decades before, driven by economic and personal necessity.

To some extent, this effect upon me is due to the fact that the West Virginia in which I grew up is now, if not extinct, seriously endangered. This isn't necessarily good or bad, it's just the way it is; the government brought the interstates and the interstates brought drug trafficking, North Carolina drivers, AIDS, white-haired folks from Ontario passing through on their way south, K-Mart, Wal-Mart, gang fashions past their bi-coastal sell-by dates but plenty fresh in these parts, and sometimes a little prosperity. First electrification, then the highways, brought the means of general and permanent change. So much change that it even became possible to elect a governor who was too young, too urban to know what "Open For Business" actually means. But the folks who created these poems--THEY knew the place I knew when I didn't know anyplace else. And they write about it in the first language I learned.

I thank them for reminding me that I am more than my last thirty years.
REVIEW: Wild Sweet Notes Fifty Years of West Virginia Poetry 1950-1999, 418 pages Publisher's Place, Inc., Huntington, W. Va. [...]
Today, for many people, home is a state of mind. Home of the past and the home of the future. "Wild Sweet Notes," Fifty Years of West Virginia Poetry l950-1999, edited by Barbara Smith and Kirk Judd is a literary treasure for not only West Virginians and others of the Appalachian region, but for readers of poetry and prose of any geographic locale. This collection contains a rich texture where universal themes are rendered with evocative voices.
The editors are to be complimented on their artful selections and placement of this diverse range of poetry and bringing together a cohesive book of superb quality. Certainly, the pride of West Virginia comes through; and as a West Virginian, I feel there is much to celebrate with this publication. The writers represented cry out on issues that are all about humanity.
The word "confluence" comes to mind--a word that the late Willie Norris used to describe his world of the South. Yes, there is a confluence in this collection where the personal becomes public and the public becomes personal because of the intense commitment to the landscape, family, and friends. A strong appreciation exists for what money can't buy--the feeling that a person is a part of something larger than the self.
Several of these writers have a national reputation as poets and as writers of fiction and nonfiction. However, every writer represented in this book is equally worthy and deserves the highest praise and recognition. Reading this book you say to yourself, "One is as outstanding as the other." When I studied creative writing with Lester Goran (Isaac Singer's translator) at the University of Miami, Goran repeatedly said, "The arts are not about a democratic process." It took a few years of experience writing and submitting my work to appreciate his words. Thus, I believe in giving equal tribute and praise when deserved, and I particularly feel this way in regard to this anthology.
Striking images appear in the late David Jarvis' poems that breathe with keen observation and emotion. I have a bias for what he created having read his chapbook, The Born Again Tourist. Jarvis' work leaves much for the reader to complete in his or her own mind. It is the same kind of feeling that I have when I view a Walker Evans photograph. Following is an excerpt:
Sometimes I hear them call my name at night.
Why do they make me wear these chains
And stake me to this land,
Land stained with their sweat and blood
And rich with their bones
This faceless choir that's chanting now from mountaintops
An ageless aria that penetrates the rock
And writes through hollows
Where streams rush like their ancient bloodlines. ***
Joseph W. Caldwell's, "BELLS ON PARCHMENT CREEK" resonates with an immediacy of the kind that lasts for decades, and you sense it will be handed down to the next generation as an historical document. Excerpts of the first and last stanzas are as follows. (Stanzas two and three are extraordinary in lending to the development of this poem but are omitted here because I believe it is unfair to reveal too much in a review).
Barbara Smith's Apple Pie Dying has a personal quality, the kind of a reflective conversation where, as the reader, you feel she is conversing with you and sharing intimate thoughts. She causes you to pause and think about your own life. An excerpt of the first stanza is as follows:
How I wish I had been with her
As she measured the flour and the salt,
Cut in the shortening
And sprinkled on water,
Baling the dough,
Rolling it out, lifting it--
Peeling the applies, slicing them
Spicing them and crimping the crust,
Listening to Paul Harvey or Cokie Roberts
Or Oprah in the background,
Mopping the floor and changing the beds,
Filling the birdfeeder while the pastries were baking,
Then cooling, then being basketed and backseated
And on to the church.
In Wilma Stanley Acree `s "At Honanki," she takes you on a journey with her where you examine the vastness of space and time--understanding that which flees and what still remains. An excerpt from the first stanza is as follows:
At Honanki (the Badger House)
the guide,
Arizona Hopi face
framed by gray braids,
leans against the red cliffs,
points at the pictograph, and recites, "This is
the Sinagua symbol
of fertility,
fertility of soil,
of woman,
of action and thought.
See the raindrops he scatters."
One of the most compelling pieces I have ever run across on the importance and the beauty of the written words comes in Grace Cavalieri's poem entitled Letter. This will be a piece that I will read at my writing workshops at The New School, in New York City where I teach. Excerpts are as follows:
If you ask what brings us here,
starting out of our lives
like animals in high grass,
I'd say it was what we had in common
with the others--the hum of a song we
believe in which can't be heard,
the sound of our own
luminous bodies rising just behind the hill,
the dream of a light which won't go out,
and a story we're never finished with.
We talk of things we cannot comprehend
so that you'll know about
the inner and the outer world which are the same.
Someone has to be with us in this,
and if you are, then,
you know us best. And I mean all of us
the deer who leaves his marks behind him
in the snow, the red fox moving through the woods.
The poetry and prose that is here is accessible and creative in form. This book can serve many purposes--the main one for the pure and simple joy found in reading. It also makes a lovely gift, which is how I came to know this book. It was given to me as a birthday gift from my brother, Sam Kessell, and Larry Halsted. They also happen to be friends with the late David Jarvis' brother. A West Virginia heritage is like that--we find one another, one way or the other, sooner or later. On another level,"Wild Sweet Notes," has tremendous academic and historical value, which can make a strong contribution in an academic setting. The voices are authentic, direct, and powerful. They serve as excellent examples of fine writing in terms of language and form.
--Reviewed by Mary Sue Kessell Rosen
Bio: I teach writing workshops The New School in New York City (An Essay Writing Workshop and The Bloodroot of Our Voices Workshop, a multi genre course).