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In Corey Van Landingham’s Antidote, love equates with disease, valediction is a contact sport, the moon is a lunatic, and someone is always watching. Here the uncanny coexists with the personal, so that each poem undergoes making and unmaking, is birthed and bound in an acute strangeness. Elegy is made new by a speaker both heartbreaking and transgressive. Van Landingham reveals the instability of self and perception in states of grief; she is not afraid to tip the world upside down and shake it out, gather the lint and change from its pockets and say, “I can make something with this.” Wild and surreal, driven by loss, Antidote invites both the beautiful and the brutal into its arms, allowing for shocking declarations about love: that it is like hibernation, a car crash, or a parasite. Time, geography, and landscape are called into question as backdrops for various forms of valediction. It soon becomes clear that there is no antidote one can take for grief or heartbreak; that love can, at times, feel like violence; and that one may never get better at saying goodbye.
Anxiety In Mosaic is a sum up of a manís fears and hopes into a volume of poetry; anxieties that span a cross section of the human phenomena of greed (in ramifications) and the resultant socio-political, economic and environmental consequences; the repercussions of worsted governance, feminist, ecological, emigrational and imperialist concerns, presented from the perspective of a philosophical questioning. The charm of these thoroughly vocal, finely-crafted poems not only lie in the quasi-compendious multiplicity of subject matter but also in their creative and innovative re-chartings.
Poetry and Place
Author, activist, feminist, teacher, and artist bell hooks is celebrated as one of the nation's leading intellectuals. Born in Hopkinsville, Kentucky, hooks drew her unique pseudonym from the name of her grandmother, an intelligent and strong-willed African American woman who inspired her to stand up against a dominating and repressive society. Her poetry, novels, memoirs, and children's books reflect her Appalachian upbringing and feature her struggles with racially integrated schools and unwelcome authority figures. One of Utne Reader's "100 Visionaries Who Can Change Your Life," hooks has won wide acclaim from critics and readers alike. In Appalachian Elegy, bell hooks continues her work as an imagist of life's harsh realities in a collection of poems inspired by her childhood in the isolated hills and hidden hollows of Kentucky. At once meditative, confessional, and political, this poignant volume draws the reader deep into the experience of living in Appalachia. Touching on such topics as the marginalization of its people and the environmental degradation it has suffered over the years, hooks's poetry quietly elegizes the slow loss of an identity while also celebrating that which is constant, firmly rooted in a place that is no longer whole.
An Anthology of Contemporary Stories and Poetry
Vol. 1 (1973) through current issue (with gaps in vols. 3 and 27)
Appalachian Heritage is a leading literary magazine of the Southern Appalachia Region, published by Berea College. Founded in 1973, Appalachian Heritage keeps readers abreast of the visual and literary arts in the region. The mix of fiction, non-fiction, and poetry by both well-established writers and new writers keeps each issue fresh and entertaining for readers.
Published by: Berea College Distributed by: University of North Carolina Press
Appetite is a book of poems that explores our American Mythologies, particularly masculinity and film. Smith investigates our fascinations with the body, gender, and entertainment in poems that are critically observant, darkly funny, darkly angry, and, sometimes, heartbreaking. Whether he is cataloging shirtless men in films and bad television, lyricizing the anxieties of childhood, or redrawing the lines of cultural membership, Appetite attacks its subjects with wit, candor, and compassionate intensity. These poems announce their presence with a style that is as beautifully wrought as it is provocative. In the America of Appetite, the usual hierarchies are obliterated: the disposable is as valuable as the traditional, pop culture is on the same level as the sacred, and the pleasurable simultaneity of past and present are found in high art and the tabloid. Smith’s work engages our contemporary moment and how we want to think of ourselves, while nodding to rich poetic, cultural, and personal histories.