Just this year, the editor/teacher/professional poet Dr. Hannah VanderHart has given us a monumental though deceptively short book of poetry on Southern life, thought, and tradition which belies the suggestion that a book need be long to achieve a worthwhile thesis and goal. The book is What Pecan Light. While the book goes from picture to picture of Southern life, and growing up in a family tradition of ownership of a chicken farm and farming in general, using images of food, daily habits, work forms, recreation times and religious traditions to which the South remains committed, the past with its Civil War history and history of slave-owning is never only a part of the background, but informs in its seriousness and rhetoric the whole.
The lovingly executed papier-mache in the photograph from the front cover with its mythically descended formation of human silhouettes-becoming-trees (by Rachel DiRenna) is a sort of key to the structure of the book as a whole: I too have had Southern relatives wondering what possible shape the South can take next, if it continues to change so much in its traditions and reverences, and being caught up in false notalgias, false because betraying of basic humanity.
Others such as Jessica O. Stark and Joy Katz on the book’s back cover have communicated at succinct and short length the cultural and societal aspects of this book. Though brevity is often said to be the soul of wit, sometimes a book merits greater length and remark where possible, and it is to this end that I devote myself today, while calling to the readers’ attention their deservedly appreciative remarks.
The book is one of tightly woven individual poems taking place in a loosely put-together structure which allows for visiting and revisiting, layering and relayering, of themes and motifs. The traditions and culture of the Southern United States in the states with which the poet is familiar are examined in an elliptical slide going from facts to Southern topoi and from Southern topoi to facts. “Topoi,” of course, in Greek, or “loci” in Latin, are rhetorical places, places where things happen and where facts may or may not reign. Here, the topoi are richly illustrated by Southern images and lifestyle portraits of the daily life of a family whose past is affected by the ancestors whom they have been taught to reverence, but whom more recent documents or examinations expose as flawed by slaving. This experience, when one thinks of it, is a universal experience in the sense that an appreciation of the facts portrayed and the reactions of the present-tense family committed to a more just existence are experienced by anyone who has imperfect human ancestors (which is all of us). That slavery is the issue here in this book makes it particularly rich for an American audience trying to heal the deep divides of our time, many of the roots of which are buried in older times.
VanderHart’s book is a deeply and seriously wrought picture of a family whose traditions are in the process of renovation despite their otherwise deep Southern ties, as the mother-figure in the poem teaches the newest members about the slave-owning past and the attitudes of prejudice, the practices of repression, that have been perennial in the world every time a subject people have sought freedom and self-determination. Thus, the poetic voice throughout, while not denying some degree of nostalgia but treating it both with reverence and due suspicion, makes from her own consciousness a critical voice arising from the midst of these traditions and cultural ties. She examines them both as they stand separate and apart from the greater life of the whole United States, and as they form the source of the root of Southern loyalty to the whole, where it exists.
For Southerners–and this was true in my childhood in the not-quite-South also, in West Virginia where people regularly divide themselves according to whether they have Southern loyalties of a traditional sort or Northern loyalties of the “West Virginia went with the North” sort–loyalty to the United States has in the past been first and foremost loyalty to a Southern-style home atmosphere, welfare, and traditions unless one is a social critic as for example VanderHart is here in her role as poet. Thus, this “monumental” work, as I called it once before, is a new sort of Southern monument, a Southern testament, a testifying of a religious sort, as poetry always has been, of a word structure rather than a stone or metal structure, but in the public forum just as a literal statue of a Confederate general or widow would be. And it is both long overdue for all of us, Northerners and Southerners alike, and most welcome in its overwhelming gift of a new language plinth to stand in our mutual public square.
This book is available from Bull City Press, at 1217 Odyssey Drive, Durham, NC 27713, http://www.BullCityPress.com . It is also available from Amazon.com.
Shadowoperator (Victoria Leigh Bennett)
creativeshadows 