“I didn’t work on it eight years consistently,” laughed van Eerden. “There were a lot of other things in that time, but this book took a lot of reimagining.” Call It Horses revolves around three women—niece, aunt, and artist stowaway—and the 1990 road trip that this improbable trio embarks on from West Virginia to New Mexico. Spending a lot of time experimenting with the book’s structure, van Eerden first tried out a narrative poetry sequence, then a more traditional first-person plot, before finally settling on the current epistolary form (i.e. told through letters).
“I think the joy of publishing a book is seeing something that you’ve labored over come to fruition,” said van Eerden about the long process of writing Call It Horses. “To complete that circuit with readers, that circuit of something that’s lived in your head for so long, it’s pleasurable no matter what.”
In the end, all that hard work paid off for van Eerden. In 2019, she was named the winner of the coveted Dzanc Books Prize for Call It Horses—the manuscript was selected from a pool of hundreds—a win that resulted in Dzanc Books publishing Call It Horses. Flash-forward a year and a half, and now van Eerden’s looking at a spring and summer of events to promote her new novel. “It’s exciting because it’s a book that’s very close to me,” she said. “I’m always interested in letting my characters go out in the world and meet other people.”
Indeed, the novel does hit close to home for van Eerden. Call It Horses starts in Caudell, West Virginia, a small rural town reminiscent of van Eerden’s own upbringing in that same state. “It is interesting my relationship to place with respect to my fiction,” she said. “I feel that there’s the physical landscape of where I grew up, and also the spiritual landscape: of the community of people and the tiny church and the ways that people interacted and cared for each other.” In Call It Horses, those two landscapes inform both van Eerden’s fictional Appalachian world as well as the quasi-spiritual journal out West undertaken by the three central characters.
As for the future, van Eerden isn’t taking a breather. She’s already working on her fifth book, a return to nonfiction and essay portraiture, a form that won her the Foreword INDIES Book of the Year Award for her 2017 portrait essay collection, The Long Weeping. “I’m planning on peering into some portraits of biblical women,” she said. “[I’m] doing a lot of excavation of biblical myth alongside more memoiristic material of my own narrative life—looking into the philosophical realm of human responsibility and human freedom, and the relationship between those two poles of existence.”
The launch of Call It Horses is at 6 p.m. today and will also feature acclaimed writer Siamak Vossoughi, winner of the 2014 Flannery O’Connor Award for Short Fiction. To participate, please RSVP here.
Jeff Dingler is a graduate assistant in Hollins’ marketing and communications department. He is pursuing his M.F.A. in creative writing at the university.
When Professor of English and Creative Writing T.J. Anderson III is asked how long he spent writing his newest book, he says he always answers, “It took me 62 years.”
Of course, he’s joking. But as Anderson further explains, a profound truth lies in that reply. “First, I had to acquire language. I next had to acquire an aural sensibility because music is very much a part of my aesthetic. Then of course, I had to read a lot of books and a lot of poetry to get to this point.”
The latest literary stop on what Anderson describes as his life’s “artistic journey, a journey that is rooted in African-American culture and American culture” is Devonte Travels the Sorry Route, a collection of poems published in 2019 by Omnidawn Publishing. The work is his fourth volume of poetry following Cairo Workbook (Willow Books, 2014), River to Cross (The Backwaters Press, 2009), and the chapbook At Last Round Up (lift books, 1996). He is also the author of Notes to Make the Sound Come Right: Four Innovators of Jazz Poetry (University of Arkansas Press, 2004) and the spoken word CD, Blood Octave (Flat Five Recordings, 2006).
“I think the work that I write is me, and it’s also not me and it’s community,” Anderson said. “One of the things that I think is true, which is a way of thinking about the afterlife of slavery in regard to how we inhabit this historical time, is the sense of temporal engagement where the past, the present, and the future are not discreet and cut off from one another. Rather, we live in simultaneity of that entanglement. That’s my challenge as a writer: How does one narrate that? How do I bring those voices into dialogue?”
When describing his aesthetic, Anderson cites two core components. He employs fragmentation and compares it to making “a quilt where I’m constantly gathering various kinds of materials, different kinds of fabrics, some silk, some rough cotton, and stitching these things together so that these fragments are in conversation. There’s the use of space in my work, too, where there are things that can’t be said or I haven’t found the words for these things.”
Devonte Travels the Sorry Route is presented in four parts, and Anderson has also developed a process for making those divisions that aligns with his perception of the poem as a musical score. “I’ll print out all of my poems and go into a large room and lay every piece of paper on the floor. Then, I’ll walk around and read them. I’ll see what fits, what’s developing in terms of a narrative and musicality. First and foremost, it’s music. I’m orchestrating things in terms of how I hear them sounding and putting them into a particular order. They’re kind of musical sections.”
Anderson’s inspiration to begin writing the poems that would ultimately become Devonte Travels the Sorry Route stemmed from seeing a painting by Irish-American artist Brian Counihan called “The Sorry Route.” He was intrigued by the work’s two dominant figures – one man in a tri-cornered hat and another who appeared to be in shackles – and the way the painting evoked colonialism.
“All of a sudden I started writing these poems that came to me that embodied this voice of a character who called himself ‘Dickerson,’” Anderson recalled. “After I drafted a few of my Dickerson poems, I started sending them out to magazines and some were getting accepted, which was really pleasing. I began to see that somehow I was working on a series.”
Anderson learned that Omnidawn, which specializes in innovative and experimental writing and is one of the author’s favorite publishers, was sponsoring an Open Book Poetry Contest where anyone who has already published a book can submit an entry. He put the series of poems into a manuscript, changed the main character’s name from “Dickerson” to “Devonte,” and Devonte Travels the Sorry Route was created. To Anderson’s surprise, the manuscript was named a contest finalist.
“The publisher called to congratulate me and as I talked to him I realized that I had only 20 poems of mid-size length in the series. Now, that will get you what is called a chapbook, usually a small printing of poems that runs about 40 to 50 pages and has just a limited dissemination. So, I really tried to expand it by writing more poems and opening up more space.”
Why did Anderson change the name of his poems’ key figure? “‘Dickerson’ has a kind of harshness to it, so one point I was going to call the character ‘Dante’ as an allusion to The Inferno, but I decided not to do that. I chose ‘Devonte’ because it alluded to ‘Dante’ but it also was a distinctly African-American name and certainly sounded more poetic than ‘Dickerson.’ At the same time, I realized there was a young man by that name who was a victim of police violence.”
In the series, Anderson says his title character “traverses time. His sense of identity is constantly being cut by historical events, so much so that there becomes no discernable separation of past and present. I’m responding to the painting and shifts of identity within the African-American cultural and historical narrative. Devonte inhabits multiple dimensions, and in several poems, he encounters history on both a macro and micro level that doesn’t solely apply to dates and images. How do we deal with the ghost of history? Devonte resists and straddles all those attempts of containment by society.”
At its core, Devonte Travels the Sorry Route is the story of an artist for whom jazz is a profound force. “It is a spiritual connection that goes beyond consumptive entertainment and appreciation,” Anderson explained. “The idea of music – tonal sounds, tonal vibrations – and what it does to the body, and how it can affect one’s ability to be in multiple places at multiple times, that’s of interest to me.”
The book’s second pivotal character, “more of an idea than an actual person,” is “Isabella.” “I see her as a representation of colonialism and its exploitation of the land that some people see as feminine. But Isabella is being used. She becomes a participant in White supremacist domination. It’s a gendered idea that’s problematic and I hope readers see that.”
Still, Anderson is comfortable with readers approaching his work differently from his own interpretation of it and even missing the allusions he makes. He recalls his own study years ago of the influential American poet Charles Olson and his seminal work Maximus Poems, a long serial poem that encompasses more than one thousand pages. “I read that entire book, I also read the criticism, I also read the biographies on him, and I didn’t understand everything. But later on, the more you allow things to ruminate and to simmer, I began to gain more of an understanding of his work. I think that’s the way I’ve always approached literature and particularly difficult literature. I don’t necessarily feel the need to ‘get’ something at first reading, that it’s important to go back and sit with something, and maybe 20 years from now you might say, ‘Oh, that’s what that line meant. Okay, I get it now.’ And that’s fine. The process for me, the process of literature, is an organic process.”
Cinephiles around the globe are no doubt celebrating the centennial of famed Italian filmmaker Federico Fellini. The year 2020 marks a century since the birth of one of cinema’s most quirky, creative, and surreal auteurs—Fellini directed more than a dozen projects across a career that spanned nearly five decades—and this month will see the release of Essential Fellini, a new 15-disc Criterion Collection box set of Fellini classics, including Academy Award-winners La Strada, Amarcord, and, perhaps the original hyper-meta film-within-a-film, 8 ½.
Fellini films also have quite a history at Hollins University. The Italian director is a favorite of Professor of English, Creative Writing, and Film R. H. W. Dillard, award-winning author and editor of The Hollins Critic.
“He’s an extraordinary filmmaker, and he does it with such clarity in his heart,” said Dillard about the enduring popularity of Fellini’s cinematic universe, which was so unique it gave rise to the term “Felliniesque.” (Fellini’s La Dolce Vita also spawned the word “paparazzi” from one of the movie’s characters, an obnoxiously persistent photographer named Paparazzo.) “Fellini’s humanity draws us back to him, as well as his art,” said Dillard about the director’s gifts. “There are lots of artistically competent filmmakers, but Fellini I’m drawn back to again and again. It’s a cliché, but his films have this heart to them.”
To Dillard’s point, Fellini had a gift for depicting all his characters, even some of his most despicable or grotesque, with a kind of forgivability and gentleness. There are no true antagonists or villains in many of Fellini’s films, only flawed but usually likeable and endearing characters against the currents of the larger world. “Amore per tutti (love for all),” one of Fellini’s characters famously declares in the director’s 1965 film Juliet of the Spirits, a movie about a suburban woman who begins seeing visions while grappling with the abandonment of her husband. “Love for all” seems to perfectly sum up the director’s attitude toward not just his own characters but indeed to the larger, messier tapestry that is humanity. In Amarcord, a film about growing up in Fascist Italy under Mussolini, even Fellini’s depiction of the Fascists and their supporters reveals that, for the most part, they are just people, too: neighbors and townsfolk, a high school math teacher, a clerk at a cigarette shop, or—in the case of the semi-autobiographical central character Titta—a freeloading uncle who rats out his own brother-in-law.
“He was an artist determined to reveal his full vision as vividly and completely as possible, to discover the universal in the particular,” wrote Dillard in a 1994 essay published in Chronicles: A Magazine of American Culture shortly after the Italian auteur had passed away. “Fellini was an artist who depended upon individual and particular vision and expression rather than politically codified generalities and stereotypes.”
Dillard’s connection to both Fellini and Hollins runs deep. In addition to offering a course on Fellini for many decades at the university (he’s actually teaching Fellini this semester, in honor of the maestro’s 100th, in his Film as a Narrative Art class), Dillard said that Hollins is where he saw his first Fellini film. Ever. “When I was an undergrad at Roanoke College, La Strada was showing at Hollins,” said Dillard, recalling the classic film that fetched Fellini his first Oscar win for Best Foreign Language Film (Fellini would go on to win three more awards in this category, a record). “That was also the first time I ever set foot on the Hollins campus. Eight years later, I came back to work here, and I’ve been teaching Fellini ever since. So I’ve always connected the two.”
That screening at Hollins sparked a decades-long Fellini fascination for Dillard. In a situation somewhat reminiscent of the COVID-19 pandemic, Dillard’s dedication to Fellini cinema even caused him to brave a crowded theater during the H3N2/Hong Kong flu pandemic in the 1960s. “When Hollins was the first college in America to close down with the Hong Kong flu—and the national news reported it—my friend [and film professor] Tom Atkins was teaching 8 ½ in his film class in Babcock,” Dillard recalled. “I thought, ‘I’m not gonna miss 8 ½,’ because back then that was the only way I could see it. And the room was full of people with blankets, all of them were sick. I watched the movie and loved every moment. And I caught the flu for it.” (Dillard is quick to caution current Hollins students not to follow in his footsteps.)
As for Fellini’s future in the pantheon of the world’s great filmmakers, Dillard has no doubt of the Italian director’s place. “I think he’s made it—he’s never going away,” said Dillard. “Post-World War II cinema is one of the great periods of art, like Elizabethan/Jacobean drama in English, and that doesn’t go away. Fellini and Bergman and Antonioni, they’re all gonna last. And thanks to technology, we can see them in Blu-Ray.” Speaking of which, Dillard added that he’s already preordered his copy of the Criterion Collection’s Fellini Essential box set (due out November 24). With a smile, Dillard said he’s just waiting for it to arrive so he can watch Fellini’s masterpieces all over again.
Though it’s uttered and written nearly every election cycle, the 2020 U.S. General Election truly might be the most significant in a lifetime. With roughly 100 million early votes already cast, polls opened this Election Day morning, Tuesday, November 3, as the last day to cast ballots. So far, early voting records have been shattered in various states (including here in Virginia), and the 2020 election is on track to have one of the highest voter turnouts ever.
Hollins students and faculty shared their experiences voting in what will no doubt go down as one of the most historic elections in U.S. history.
Angelica M. Ramos-Santa ’22, creative writing M.F.A. I received my ballot in the mail from the Lehigh County office in Pennsylvania. At first, I was excited like, “This is awesome, my vote matters.” But then the reality of how important this election seriously is [set in]. So much is on the line, it truly feels do or die. I opened the ballot and voted. I was nervous about going to actual polls due to pre-existing health conditions. When I sealed the envelope, I felt hope and I hope our generation does the right thing [and] votes for everyone to have an equal chance.
Jessie van Eerden, associate professor, English/creative writing
I requested a ballot very early, online, for a mail-in ballot, in late September. I had never voted that way before and was surprised by the requirement of a witness, but I liked that aspect—having someone bear witness to my exercising of this right we can take for granted. I felt more keenly than usual that I was/am so deeply implicated in the fabric of my country and its institutions, even the institution of the postal service that carried my vote for me into the sea of others’ votes.
Matthew K. Burnside, visiting assistant professor, English/creative writing
I voted by mail extremely early on, along with my wife. We filled out the forms very carefully together, reading aloud instructions back and forth and nervously making sure we got everything perfect, since it feels like any excuse to not have our vote counted this time around could potentially result in invalidation. I’ve never had that fear before but it was palpable this year. My ballot was verified received over a month ago, so that’s heartening. Definitely a tense experience this time around, though! If I were doing it today, I wouldn’t mail it in—I’d deliver to the drop box or vote in person.
Jen Lazar ’21, creative writing M.F.A.
[Jen responded with a haiku of 3-5-3 syllables]
two envelopes sealed,
we got this
Isabella G. Narducci ’23
I voted in person. It was pretty easy, in and out in like ten minutes. I will say though I was caught a bit off guard by other things that were on the ballot besides the presidency, like for senate positions or on certain bills that I hadn’t heard of. But once I realized I didn’t have to vote on all positions I gave them my ballot and I was off. I voted in the primaries, but this was my first presidential election. I was excited mainly but still nervous because I was worried I’d fill it out wrong or something like that.
Jeff Dingler is a graduate assistant in Hollins’ marketing and communications department. He is pursuing his M.F.A. in creative writing at the university.
Associate Professor of Creative Writing Jessie van Eerden has been named the winner of the 2019 Dzanc Books Prize for Fiction, recognizing daring, original, and innovative writing.
Call It Horses, van Eerden’s third novel, was selected from a pool of hundreds of manuscripts and eventually judged by three celebrated Dzanc Books authors: Lee Martin (The Mutual UFO Network, Late OneNight), Peg Alford Pursell (A Girl Goes into the Forest), and John Englehart (Bloomland), winner of last year’s prize. The story centers on Frankie Donne and her aunt Mave, who embark in 1990 on a road trip from West Virginia to New Mexico. Mave is running from her cancer treatments, while Frankie is trying to escape from a loveless marriage, fresh sorrow over a miscarriage, and years of grief over abandonment by her true love, Dillon. They reluctantly agree to take on a third passenger: Dillon’s new wife, Nan, who has her own reasons for fleeing west.
“I was so moved by this book, I sobbed at the end,” said Pursell. “And the language! What a gifted author.” Englehart stated, “Filled with poetry, working-class grit, and undogmatic spirituality, this novel shows us what we gain when we become outlaws in our own lives.” Martin added, “The final scene is one I’ll remember always.”
“This novel has been a long journey, several years of exploring the story of spiritual liminality experienced by a woman standing just outside of fulfillment,” van Eerden said. Of winning the prize she noted, “I’m grateful to all the readers of this manuscript, to those who came alongside me to read early drafts and to the editors and judges who read for the prize, for the ways each reader has helped to usher these characters into the world. And, I’m honored to have this opportunity to work with a press with such a commitment to artful, attentive fiction.”
Glorybound (WordFarm, 2012), winner of the Foreword Editor’s Choice Fiction Prize, and My Radio Radio (Vandalia Press, 2016), selected for the Top 10 of 2016 by Image Journal, are van Eerden’s two previous novels. Her portrait essay collection, The Long Weeping (Orison Books, 2017), won the Foreword INDIES Book of the Year Award.
Dzanc Books is a nonprofit organization committed to producing quality literary works and providing creative writing instruction in public schools through the Dzanc Writers-in-Residence program. It also offers low-cost workshops for aspiring authors.
Few publications have celebrated the prodigious talents of Southwest Virginia writers and artists as Artemis.
For the better part of four decades, the literary journal, published annually, has showcased compelling new voices in tandem with notable authors that have ranged from poet laureates to Pulitzer Prize and other major award winners and nominees. The rich history of creativity at Hollins University in the written word and other artistic expression has played an integral role in the success and perseverance of Artemis: Through the years, over 140 Hollins writers and artists, including more than 90 students and 40 professors, have been featured contributors, or have donated their time and expertise as board members for the all-volunteer operation.
“Without Hollins and the direction it provided, Artemis would not have lasted,” says editor and founder Jeri Rogers, who herself is a Hollins alumna, having earned her Master of Arts in Liberal Studies in 1991.
Artemis began in 1977 while Rogers was serving as director of the Women’s Resource Center in Roanoke, sponsored by Total Action Against Poverty (now Total Action for Progress). “I had gotten a grant to do a photographic study of women and in the process found that a lot of my subjects were writers. At the same time, one of the biggest problems I saw at the center was women who had suffered from abuse. That’s a really tough subject to deal with because poverty, drug and alcohol abuse, and homelessness are also involved. It was so upsetting and sad to see this, but I thought, ‘What can we do to help move this forward?’ So, I started a writing workshop for abused women.”
The first workshop, which was run “with the help of some of Hollins’ best writers,” she says, generated “amazing results.” Rogers was inspired to launch a new literary journal that she named Artemis after the lunar goddess. “I pitched the idea and my supervisors were like, ‘go for it, we’ll get some money for you.’ That was how it started and it was such a great vehicle because it published some of the writings of these women and talked about the work we were doing at the center.”
Poems and short stories by Hollins students and professors appeared as well in the debut issue of Artemis, and over the years, contributions from acclaimed Hollins authors such as Professor of English Jeanne Larsen M.A. ’72, Professor of English Cathryn Hankla ’80, M.A. ’82, and Beth Macy M.A. ’93, and artists including Professor of Art Emeritus Bill White and Betty Branch ’79, M.A.L.S. ’87, have been published. Well into the 1980s, Hollins faculty writers including Amanda Cockrell ’69, M.A. ’88 (founding director of Hollins’ graduate programs in children’s literature), Thorpe Moeckel (associate professor of English), and Professor of English Eric Trethewey (who passed away in 2014) continued to play a prominent role in the writing workshops. Rogers notes that “[Professor of English] Richard Dillard got involved early on, and thanks to him, every issue of Artemis is now part of Special Collections at Hollins’ Wyndham Robertson Library.”
The first 20-plus years of the journal’s existence were gratifying yet exhausting for Rogers and her volunteers. During the same time period she was raising three children and working as a professional photographer. Artemis went dormant in 2000 for more than ten years, but its concept and mission never diminished. “There were a number of us who missed it,” Rogers recalls, “and we decided to resurrect it in 2014” with one caveat: “We’ve gotta keep it small.” Today, the Artemis staff features Rogers and just six other volunteers, and she’s emphasized recruiting younger people to ensure the journal continues for years to come.
Rogers admits that producing a “beautifully printed, perfect-bound,” 200-page volume in the digital age “is a challenge. It’s pushing that boulder up that hill. But we don’t give up. There’s nothing like having your work printing in a page form in a book. You can have all kinds of things done in a digital format that are then uploaded to ‘the cloud,’ but how do we know that’s going to be there five years from now?”
Since its return, Artemis has actually seen its print number increase to somewhere between 500 and 600 copies. Most copies are sold for $25 each during a celebration launch event held each year at Roanoke’s Taubman Museum of Art. The official debut of Artemis XXVI, the 2019 edition of the journal, takes place on Friday, June 7, and will feature a special dance performance by the Southwest Virginia Ballet.
Artemis is also made available for purchase online – the journal is planning a pre-sale event for the 2019 edition this spring where the book will be available for $20 – and Rogers says sales have “gone beyond the Blue Ridge Mountains,” reflecting the fact that submissions have been coming in from writers and artists outside the region.
“Among the more than 1,000 submissions we had last year, some came from Italy, England, and France, and we published those,” Rogers explains. “The power of the Internet has helped spread the word about the quality.”
Fittingly, the two featured writers and artists in Artemis XXVI are distinguished Hollins alumnae: Natasha Trethewey M.A. ‘91, Pulitzer Prize winner and former U.S. Poet Laureate, and Sally Mann ’74, M.A. ’75, who was named “America’s Best Photographer” by Time magazine.
“Natasha – you just can’t get much better that that. And what can we say about Sally other than ‘Wow,’” Rogers states. “They both have dealt with being Southern artists and writers, and I think they both really tie into that Southern Gothic scene. Natasha’s poem in the new edition of Artemis addresses racism and is called “Reach.” Sally said she’d be honored to be paired with Natasha, and the image of hers that we’re considering is so good, we think it’s cover-worthy.”
While Rogers acknowledges that she’s “not going to be around forever” as editor of Artemis, she clearly relishes the achievement each edition represents and considers last year’s issue to be her proudest moment. At the same time, she is quick to praise the many volunteers that have supported the journal over the years, noting that “it literally takes a village to sustain the energy needed for Artemis.” Two of the key players along with Rogers since the beginning who continue to play vital roles today are literary editor Maurice Ferguson and design editor Virginia Lepley. Rogers also cites organizations such as the Taubman, which provides space for the annual issue launch free of charge, and the Roanoke Arts Commission, whose grants have given Artemis crucial financial support.
“When you start something, it’s probably going to work out if you have good intentions,” Rogers concludes. “If it’s egotistically motivated, it’s going to have some problems. It won’t last. All along, during the history of Artemis, there have been people who get on board, are so dedicated to the arts, and want to keep this thing going. I think that’s why we’ve existed as long as we have.”
Top Image: The artwork for the cover of Artemis‘ 2015 issue, created by Hollins Professor of Art Emeritus Bill White.
Hollins University Professor of English Cathryn Hankla is among the nine authors who are finalists for the 20th Annual Library of Virginia Literary Awards.
The Library of Virginia’s annual literary awards recognize the best books published the previous year by Virginia authors or on a Virginia theme. The winners in each of the three categories (fiction, nonfiction, and poetry) receive a monetary prize of $2,500. The finalists are chosen by an independent panel of judges from hundreds of books nominated for the awards.
Established in 1976 and presented by the Susan B. Anthony Institute for Gender, Sexuality, and Women’s Studies and the Department of English at the University of Rochester, the Kafka Prize is given annually to a woman who is a U.S. citizen and has written the best book-length work of prose fiction, be it a novel, short story, or experimental writing. Previous winners include such distinguished authors as Toni Morrison, Ursula Le Guin, and Anne Tyler.
According to the Kafka Prize webpage, the award honors its namesake, “a young editor who was killed in a car accident just as her career was beginning. Those who knew her believed she would do much to further the causes of literature and women. Her family, friends, and professional associates created the endowment from which the prize is bestowed, in memory of Janet Heidinger Kafka and the literary standards and personal ideals for which she stood.”
Poliner will participate in a reading, award ceremony, and book signing at the University of Rochester on November 2.
As Close to Us as Breathing is the story of a close-knit Jewish family that strives to cope following a tragedy. The novel is “vivid, complex, and beautifully written,” said Edward P. Jones, Pulitzer Prize-winning author of The Known World. “[It]brims with characters who leave an indelible impression on the mind and heart. Elizabeth Poliner is a wonderful talent and she should be read widely, and again and again.”
The Kafka Prize is the latest of several honors the novel has received. In May, the book was named a finalist for the 2017 Library of Virginia People’s Choice Award. Last November, As Close to Us as Breathing was selected as one of Amazon’s Top 100 Editors’ Picks for 2016 and an Amazon Best Book for March of that year.
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Hollins University Professor of English Cathryn Hankla‘s new volume of poetry may be titled Galaxies, but don’t mistake it for an exploration of astronomy.
Mercer University Press, the publisher, instead describes it as “a book of seeking and beseeching. Galaxies forms a collective of connected but disparate things. Each galaxy grouping constitutes a gravitational system of concern, finding its own music and approach to what a poem can be. Together the poems create a spiritual pilgrimage, a sequence sending up an alarm for the earth, inviting the reader to walk a path to the heart’s center.”
Galaxies has already received considerable praise. Author Alice Fulton called it a “quietly mind-blowing book,” while poet and novelist Carol Moldaw said the collection consisted of “poems of lyric capaciousness, thoughtful, intricate, and enticing.”
Hankla will be discussing and reading from Galaxies during her upcoming book tour:
Tuesday, August 8 Bookworks, Albuquerque, New Mexico, 6 p.m.
Wednesday, August 9
Collected Works, Santa Fe, New Mexico, 6 p.m.
Saturday, August 12
Tattered Cover, Denver, Colorado, 2 p.m.
Tuesday, August 15
Colorado Mountain College, Leadville, Colorado, noon
Sunday, September 3
Malaprops, Asheville, North Carolina, 3 p.m.
Friday – Sunday, October 13 – 15
Southern Festival of the Book, Nashville, Tennessee
Thursday, November 9
Eleanor D. Wilson Museum, Hollins University, Roanoke, Virginia, 7 p.m.
Born in the Appalachian mountains of Virginia, Hankla teaches in the Jackson Center for Creative Writing at Hollins and serves as the poetry editor of The Hollins Critic. She has published 12 previous books of fiction and poetry, including Fortune Teller Miracle Fish and Great Bear.