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Record Nr. |
UNINA9910779465903321 |
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Autore |
Jeffers Honorée Fanonne <1967-> |
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Titolo |
Red clay suite [[electronic resource] /] / Honorée Fanonne Jeffers |
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Pubbl/distr/stampa |
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Carbondale, : Crab Orchard Review, : Southern Illinois University Press, c2007 |
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ISBN |
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0-8093-8758-1 |
1-299-05074-3 |
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Descrizione fisica |
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1 online resource (87 p.) |
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Collana |
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Crab Orchard series in poetry : open competition award |
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Disciplina |
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Soggetti |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references. |
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Nota di contenuto |
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Cover; Title Page; Copyright; Contents; Acknowledgments; Prologue; Red Clay Suite; 1. Migration Cantos; Word on Earth; Passing; Giving Thanks for Water; An Angel, Unaware; The Compass of Moss; Let Blood Go; Cotton Field Sestina; Eatonton (Two); Driving Interstate West through Georgia; 2. Dark Pastoral; Blues Aubade (or, Revision of the Lean, Post-Modernist Pastorale); Mister Buzzard and Brother Crow; Consider My Brother as the Rabbit; Dirty South Moon; Here, One of Your Four Women; One Morning Soon; Poem for Birds; Another Easter Poem |
I've Been Up Late Reading the Book of Poems You Inscribed and Mailed to MeTheir Splendid; The Blues I Don't Want to Remember; What Is Written for Me; Lexicon; 3. Red Clay Reprise; The Little Boy Who Will Be My Father; Suddenly in Grace; The Subject of Gardening; Days Are Plain; Eatonton (One); Reunion Scripture; Why I Will Praise an Old Black Man; What Grief Is; Hawk Hoof Tea; Oklahoma Naming; Upon Learning That My Indian Student Is a Sundancer; Notes; Other Books in the Crab Orchard Series in Poetry |
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Sommario/riassunto |
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In her third book of poems, Honorée Fanonne Jeffers expresses her familiarity with the actual and imaginary spaces that the American South occupies in our cultural lexicon. Her two earlier books of poetry, The Gospel of Barbecue and Outlandish Blues, use the blues poetic to explore notions of history and trauma. Now, in Red Clay Suite, Jeffersapproaches the southern landscape as utopia and dystopia-a |
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crossroads of race, gender, and blood. These poems signal the ending movement of her crossroads blues and complete the last four "bars" of a blues song, resting on the final, and essential, note |
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