For decades a restorer of old homes, Connie Wanek shows us that poetry is everywhere, encountered as easily in the waterways, landscapes, and winters of Minnesota, as in the old roofs and darkened drawers of a home long uninhabited. Rival Gardens includes more than thirty unpublished poems, along with poems selected from three previous books—all in Wanek’s unmistakable voice: plainspoken and elegant, unassuming and wise, observant and original. Many of her new poems focus on the garden, beginning with the Garden of Eden. A deep feeling for family and for the losses and gains of growing into maturity mark the tone of Rival Gardens, with Wanek always attending to the telling detail and the natural world.
A freewheeling romp through the world of imagery and metaphor, this quietly startling collection of thirty poems, framed by the four elements, is about art and reality, fact and fancy. Look around: what do you see? A clown balancing a pie in a tree, or an empty nest perched on a leafless branch? As poet Connie Wanek alludes to in her afterword--a lively dialogue with former US Poet Laureate Ted Kooser--sometimes the simplest sights and sounds "summon our imaginations" and cry out to be clothed in the alchemical language of poetry. This compendium of the fleeting and unexpected turns the everyday--turtles, trees, and tadpoles; cow pies, lazy afternoons, and pillowy white marshmallows--into poetic gold." -- Amazon.com.
The poems in Hartley Field are by turns witty and amusing, lyrical and moving. But always they are clear and -direct. Wanek writes clever, closely observed poems on subjects as diverse as ''Butter'' and ''the Hammer,'' work which is in the tradition of Francis Ponge and Pablo Neruda. These are often humorous and are enormous fun to read. Similarly, a number of poems focus upon children's games and activities (''Checkers'' and ''Jump Rope,'' among others), and explore them physically and psychologically. What is most remarkable about this collection is the consistent originality of the imagery and elegance of language. In the poem ''Late September,'' we find ''a plumed of smoke hand-feeding the wind.'' The object poem ''lemon'' observes that the fruit has ''bumpers on both ends like a Volks wagon.'' A racoon advancing into a dark yard is described as ''a creature both manly and womanly/capable of force or seduction.'' Here is the first stanza of the elegiac ''After Us.'' Rain is falling through the roof. And all that prospered under the sun the books that opened in the morning and closed at night, and all day turned their pages to the light. . . . Joyce Sutphen says of Wanek, ''Nothing about what she says or sees is routine...(Hartley Field) is a book of revelations; in poem after poem, some ordinary object or event is split open with such keen tenderness that the heart is caught off guard.'' Connie Wanek was born in 1952 and lives in Duluth, Minnesota. She is the author of Bonfire, published in 1997 by New Rivers Press. Her poems have appeared in The Atlantic Monthly, Poetry, The Virginia Quarterly, Country Journal, and many other publications. She has been awarded fellowship support from the Arrowhead Regional Arts Council and The Jerome Foundation.
A freewheeling romp through the world of imagery and metaphor, this quietly startling collection of thirty poems, framed by the four elements, is about art and reality, fact and fancy. Look around: what do you see? A clown balancing a pie in a tree, or an empty nest perched on a leafless branch? As poet Connie Wanek alludes to in her afterword--a lively dialogue with former US Poet Laureate Ted Kooser--sometimes the simplest sights and sounds "summon our imaginations" and cry out to be clothed in the alchemical language of poetry. This compendium of the fleeting and unexpected turns the everyday--turtles, trees, and tadpoles; cow pies, lazy afternoons, and pillowy white marshmallows--into poetic gold." -- Amazon.com.
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