IN THE TIME OF MISSION AND MIGHT

Yesterday, I went down to A & E Gallery here in New Iberia, Louisiana, to a reception and book signing for Margaret Simon of New Iberia, whose Sunshine, a notable middle-grade fiction book published by Border Press, just appeared on the market. (See the review of Sunshine on my blog, A Word's Worth).

However, when I walked over to the payment counter, I discovered more treasure from New Iberia’s growing body of artists/writers: In the Time of Mission and Might, the newest member of Paul Schexnayder’s children’s trilogy about Legacy Acorns. If I had found a beautifully illustrated children’s book like this one when my mother dropped me off to spend the day at the old Claitor’s Bookstore in Baton Rouge, Louisiana so many eons ago, I’d have been ecstatic, for to live within the imagination of Paul Schexnayder is to occupy enchanted space. 

The vibrant acrylic paintings, accompanied by his fanciful tale about animals, birds, and vegetation indigenous to Louisiana, had to be read aloud at my breakfast table. It is children’s fictionalization and visualization at its finest. Whimsical and dreamlike figures interplay throughout the story, and the informational, as well as playful text takes readers into a fantastical realm.

The illustrations alone in In The Time of Mission and Might will transport young readers into an adventuresome place where Lilla Cornflake (I love Schexnayder’s namings), a care-taking doe, makes a startling discovery when she unlocks the front door of the Live Oak Museum. Legacy Acorns that were produced by only one Live Oak tree in nine coastal states had become museum pieces, and they’ve been stolen from their glass case within the museum. Professor Morton Sterling Flynn, an eminent archaeologist, is brought in to investigate and solve the case, but, of course, he encounters a formidable obstacle. I’ll only hint at one of any reader’s worst nightmares: critters that slither and hiss! 

As Schexnayder does in the two former books of his trilogy, the problem of stolen treasure is resolved in a just and charitable conclusion within the walls of the Joy and Wonder Orphanage sans Schexnayder conveying overpowering moralism, but he communicates the kind of ethic Johnny Gruelle once showed in his children’s stories about the iconic Raggedy Ann and Raggedy Andy (shades of a former era). Schexnayder concludes with his legacy statement that reflects his compassion and vision: “The heart of home lives inside of you all; may you plant this in a safe place to produce a legacy worthy of your own dreams.”

Paul Schexnayder is an artist, author/illustrator, and art teacher. He is also a member of the Society of Children’s Book Writers and Illustrators and has illustrated over half a dozen children’s books. He’s known throughout Acadiana as an Ambassador for the Arts and sponsors readings, signings, and cheerful support for writers and artists throughout the South.

Another banner book, Paul! C’est Magnifique!

SUNSHINE

Author Margaret Simon knows the hearts and minds of young people, as is evidenced in her forthcoming book, Sunshine, to be released by Border Press Books. She demonstrates knowledge of their feelings and behavior in her middle-grade novels about Blessen LaFleur, the heroine of the Blessen series that features a spirited and caring child who lives near the rusty Bayou Teche in southwestern Louisiana. Simon, who has been an elementary school teacher for over thirty years and who now teaches gifted children in Iberia Parish, Louisiana, possesses unusual insight into the lives of those about whom she writes. Her first book about Blessen introduced readers to a heroine who struggles to find joy within the dysfunctional family into which she was born and who proves herself to be the supreme mistress of misadventure. Darrell Bourque, former poet laureate of Louisiana, praised the novel as a “cross between a fairy tale and wisdom literature.”

Simon’s second book, Sunshine, A Blessen Novel, again features Blessen, who has taken on the responsibility of raising a hen she calls Sunshine and, simultaneously, a homeless child named Harmony. Blessen feels she needs to save Harmony from a foster home where she has been placed and neglected. When Sunshine becomes a broody hen, Blessen is forced to get help from her teacher, Ms. Fullilove, to appease the hen, but the care needed for Harmony, an enchanting child Blessen encounters, eclipses her caretaking of this pet. Harmony is a twirling seven-year-old who talks in rhyme most of the time. Of course, the two girls, who call themselves “guardians of nature,” propel themselves into an adventure, running away from home and hiding near an abandoned convent alongside the Bayou Teche, but the unwise decision Blessen makes is resolved in a surprise ending, and young readers will find themselves wanting even more exciting chapters in the life of Blessen…and now, Harmony.

Simon features characters that resonate with authenticity; e.g., Blessen’s brief narration about herself: “All this time, in my life of eleven years, I thought I was white, and come to find out, my father was black as night. My tan skin and big wide nose come from my father’s side, along with my unruly nappy hair; Momma gave me her green eyes and strong will…” Her deceased grandfather: (Pawpee) “Even in his wheelchair, Pawpee was a handyman and master gardener. He saved enough money for Momma to make a down payment on a doublewide with central air. Thanks to my sweet grandpa, I now have my own room and my own bathroom…” And Mae-Mae, her grandmother: “Mae-Mae was the rock who held us all together. She told me then and there that God saved me for a purpose. I was reborn. I was fulfilling my name, Blessen, being a blessing to them all…”

However, Harmony emerges as the primary character in this new story about Blessen, “swirling off the porch, a young black girl [who] swoops like a hawk to my side. She wears a tattered pink dress that’s too short for her long skinny legs. Her skin is as dark as a moonless night, her hair plaited in braids close to her scalp.” Harmony speaks in rhymes that reminded me of the children’s story about the “churkendoose,” a creature who dismays fellow barnyard creatures with his rhyming speech but who becomes a hero because he chases a predatory fox out of the barnyard. Harmony introduces a nonsensical element in this novel; e.g., her wordplay: “You’re pretty as a daisy in Maysy!/Daisy, Mays,/won’t you look at me/twirling like a dancing girl/ready for a partee.”

Simon’s descriptive abilities are evident in each chapter and showcase her powers of observation: “I stop talking and look out across the fields of high sugar cane. Stalks of long, green leaves sway in the wind. We pull behind a cane truck with its yellow triangle ‘Slow’ sign shining on the huge metal basket filled to overflowing with burned stalks…” She tells of the makeshift quarters that Harmony calls home: “The window near the door is open wide, no screen or curtains. I peek inside. There’s no furniture in the room. The hardwood floors are dusty. Two makeshift beds, pallets of blankets and pillows lay in the corner. A small doll sits on one blanket, naked with frazzled plastic blond hair. The doll winks at me with only one eye open…” That vivid last line captures the unkemptness of Harmony’s quarters and underlines Simon’s talents as a writer who is master of concrete detail. 

Children’s literature is Simon’s forte. In Sunshine, as in Blessen, there are no “heavy, cluttery phrases,” as E. B. White says. The language is true and clear, the characters well developed, action consistently moving the readers through suspense with a balance of humor and serious intent, and wisdom is imparted without the writing impinging on didactic. Much of our adult morality in children’s books, White says, has “a stuffiness unworthy of childhood,” but Simon’s characters don’t overpower young readers with lessons in character building. Sunshine is a delightful, spirited work about an unusual family that, despite its dysfunction, manages to convey a message of faith and love, grace and whimsy. It’s Margaret Simon at her best.

PINYON REVIEW #13

Today is Friday the 13th, good fortune day, and good fortune appeared in the mail this morning — the 13th issue of Pinyon Review published by Gary and Susan Entsminger in Montrose, Colorado. 

The work of the Friebert family, (Steve, Eddie, and Stuart) is featured in both original and translated poetry, highlighted by the wonderful cover and title page art by Steve Friebert — an arresting piece called “Moon Art.” The royal blue background with scattered small red splashes in the design is accentuated by a moon with black branches overlaying it and, at first glimpse, I thought I was looking at the crown of thorns of the Crucifixion. I’ve looked at the work at least five times and still perceive the work as having spiritual form.

However, not to be eclipsed by Steve Friebert, Stuart Friebert offers another of his translations of German poets: that of Ute Von Funcke’s poem entitled “Twilight,” a succinct poem of five couplets: “the small horse/of twilight/day’s waning/in its mane/it paws at the/sills of night/atremble, its play of muscles/cuts a hole in the fence rails of time/night’s already resting/in the saddle of silence.” Ute Von Funcke wrote plays for children before her debut as a poet and has now published four collections of poems. For me, the minimalist style reflects her background as a children’s playwright and is also reminiscent of poems recently published in Bayou Song by Margaret Simon, a book by a New Iberia, Louisiana writer I recently reviewed this month that reflects Simon’s background of working with gifted children in Louisiana.

Fabric Poussin, a writer and photographer, whose work has appeared in more than 200 art and literary magazines in the U.S. and abroad, contributes a three-page display of “Frozen Dreams,” which includes an impressive piece, “Next Creation.” The artwork contains two open books that suggest Scripture is being re-created against the backdrop of a paintbrush and vivid patches of color — an unusual still-life that conveys the idea of co-creation.

Michael Miller, the new bard of Amherst, reminds me of Emily Dickinson, minus the dashes, and with usual self-awareness, he speaks of aging and dying in his concise style. In his poem, “Seven in the Morning,” he writes of blurred vision and cataracts where “Reality draws me/to diminishment…With my fountain pen/I draw a feather for you./I might never see/A bluebird again.” Pinyon has published two of Miller’s books of poetry: Lifelines and In the Mirror; his work is also reminiscent of W. H. Auden’s direct style and suggests ease within his language — watchful and re-envisioned.

Gary and Susan Entsminger, publishers and editors of Pinyon Review, have added a further dimension to their journal with poems that feature mixing guns and whiskey… “how suddenly the world/changes with a shot…” (Gary’s “Counter-Intuitive”) and a train ride through “wide white mountains stretch[ing] like taffy/round the high horizon,” (Susan’s “Zephyr”). An artistic team, the Entsmingers write, mountain climb, garden, compose and play music, draw, paint, and are dedicated to promoting writers and artists who often deluge them with works that “celebrate the arts and sciences.” 

Charles Cantrell’s work, twice-nominated for a Pushcart Prize in poetry, attracted my interest with his quote by Charles Simic, one of my favorite poets: “Infinity yawns and keeps yawning.” “Infinity Blues” refers to Simic’s use of the word “infinity,” and Cantrell pens a verse, a la Simic style: “At one edge of the paper, nothing/but the black of space, and past that,/deeper space. And past that?/True to form, the poet always juxtaposes/something clear and solid with any abstraction/like infinity or eternity…” 

Two of my poems appear in Pinyon Review # 13, and I’m always honored to be included among the many award-winning poets and artists in this artistically created journal. Outstanding writers also featured: Rob Walton, Rebekah Bloyd, Debra Bacharach, Neil Harrison, John Miller, Bruce Lader, Edward J. Rielly, John Abbott, Ed Meek, Thomas Els-on… and artist Sharon Johnson. 

Pinyon Review #13 is a thought-provoking compendium of poetic voices and forms — a tour de force and a joy to read. I’ve been connected with the Entsmingers on this literary journey for nine years and am always amazed at the excellent quality of their productions. 

Pinyon Review is available from Pinyon Publishing, 23847 V66 Trail, Montrose, CO 81403

IN THE BUBBA ZONE

• "ON THE OBSCURITY OF WORDS AND CLARITY OF THINGS." - CHARLES SIMIC -

It all started with a visit from Brenda Lowry and Bubba (Joshua) Murrell a few days ago. Brenda arrived on the heels of a trip to Washington, DC where she was honored with a first place award for composing music and lyrics to a song entitled “America’s Story in Art,” in a contest sponsored by the national DAR. Bubba, a Grammy award winner in music, showed us his video digital images he had created using Planet Coaster made by a UK enterprise named Frontier Company. These talented New Iberians perform in a religious program they wrote and produced called "Women at the Well," and in a blues music duet, "Blue Merlot."

We lunched with the Sisters at the Convent of the Order of St. Mary, Sewanee where we started a conversation about creativity and the proliferation of artists in south Louisiana, particularly in New Iberia, site of my winter residence. We continued this conversation as we drove down the Mountain into the valley and pulled into the railroad museum at Cowan, Tennessee. I was collecting information about the Cowan Pusher District and Cumberland Mountain Tunnel built by the Nashville and Chattanooga Railroad in 1849. This small museum wasn’t totally air-conditioned but we had to drag Bubba away as he’s attracted to all things technical and is always collecting data about “What makes this thing work?” 

Later, we had dinner at the new Octo-π (Octopi) Pizza and Wine Bar Bar in Sewanee where gourmet pizza has been perfected, revisiting the subject of creativity over Cthulhu and Blue Ring Sting pizzas. Once we re-entered this subject, Bubba went into something the four of us call “The Bubba Zone,” a zone in which he moves from anecdotes about quirky characters to origins of music, aerodynamics, and interpretations of the Bible. He’s a genius, and Brenda is the only person I know who can stop him when the hour grows late. He also grows a lush garden in Loreauvile, Louisiana and is the one friend I have who might be able to converse with higher mathematicians about the origins of the zero.

A day after my friends’ visit, we drove to Blue Ridge in North Georgia where I love to visit when peach season is launched. Also, the town lays claim to pursuits in art, music…even has a playhouse. It’s located in Fannin County, Georgia, known as the gateway to the Blue Ridge Mountains, with the Cohutta Ridge rising in the west and the Blue Ridge to the south and east.The Cherokees called the Cohuttas “the poles of the shed” holding up their sky, and they farmed in the Blue Ridge Mountains in the warmer months, leaving the area in the winter for the Cherokee village of Aska.

At one time, the town of Blue Ridge was a health resort because it featured pure mineral waters. One hundred thousand acres of the land in Fannin County is managed by the US Forest Service, and during the 1940s, the wonderful CCC boys reforested acres and acres across Fannin County.

On the way to Blue Ridge, we stopped for lunch at the edge of Ellijay where we had a real country meal — fried chicken, turnip greens, green beans, mashed potatoes, and cornbread. The restaurant was crowded, even at 1 p.m., and we had to wait a spell for lunch, but we felt like we had entered the Bubba Zone when a man sitting at a table close to us took off his outer shirt and, dressed in his white undershirt, began telling a story. It seems that he knew a man he said was such a champion fisherman, he could catch fish in a mud puddle in the middle of the road. The friend had serious mental problems brought on by age, but the guy in the white undershirt actually saw this apparition fishing in the middle of the road, picked him up, and took him to his girlfriend’s house… sans fish. 

This story led to the raconteur’s tale about finding a vertebrae in a cave that had an arrow deeply imbedded in it, which he brought to the attention of experts who identified the arrow as the point of a spear probably thrown by an atlatl but couldn’t identify the huge vertebrae. This raconteur left before I could approach him for an interview, so I settled for strawberry cobbler that my friend Vickie kept urging me to order, exaggerating my southeast Louisiana drawl. However, I wouldn’t have received any notice because the Georgia accent around me was so thick my drawl wouldn’t have impressed anyone.

More about the Bubba Zone later. Also, when I arrive back in Sewanee this week, I hope to review New Iberian Margaret Simon’s new book, Bayou Song.

Photographs: selfie of Brenda and Bubba and train engine by Victoria Sullivan

INTO THE SILENCE

Border Press has produced many "first novels," and its latest, Into the Silence by John Gibson, is among the press's growing list of excellent fiction writers who base their work in southern locales. Gibson, a physician who spent over thirty years on the faculty of an academic medical center in Mississippi, sometimes speaks of his novel as a "medical novel," but I think that Into the Silence could be called a "metaphysical novel" and reveals that Gibson, an Episcopalian, has spent a lifetime of study about esoteric religions, including his own Anglican church roots.

Gibson gives the reader a substantive view of a state that has produced some of the finest writers in the U.S. One of his characters, a farmer, provides readers with well-crafted passages about "connecting with something that's bigger than the soil, bigger than the ground you're working on...Some people say it's people who make history. But I think it's the land — it's the land and the rivers that make all the difference...take the Mississippi Delta, for instance: just by being there the Delta enticed man to dig in its soil, to cut and shape the land to suit man's needs...by just choosing to live in the Delta instead of the hills, man was shaping himself, his culture, his politics, his ability to earn and spend money..."

Gibson knows his region, as well as the politics of hospital administration and swiftly propels the reader into a story set in the emergency room of a bustling hospital where readers meet Dr. Todd Sutherland and his patient, Anna Chadwick, who suffers from Ebstein's Anomaly, a ventricular dysfunction. It's Christmas Eve and Sutherland is standing in for another physician; the woman is beautiful and charming, and the scene seems primed for an unlikely romance. However, beneath the surface of Sutherland's obvious attraction to Chadwick, lie questions related to life and death that take the reader into issues far deeper than the introduction of a romance. Sutherland becomes a frequent visitor at the bedside of Chadwick, and ultimately she undergoes a surgery. When she enters into a coma, Sutherland begins sitting with her, and during the vigil at her bedside, he undergoes a dark night of the soul, pondering where her soul must be as it relates to the difference between life and death. As the story progresses, he is accused of shutting off her respirator and endures an ethics trial.

Sutherland, in a state of grief, wrecks his car in New Orleans and ends up in Ochsner's Hospital where he experiences a state of consciousness near death and begins to probe the condition of his soul: "I moved through the walls and out in the open air and even more quickly rushed through a kind of tunnel and out an opening at the other end. While I came out of the tunnel, I could see a bright light. When I moved toward the light, a figure came into view..." The man is identified as Parmenides, an ancient healer who heals by prophecy and informs Sutherland that since he is a healer, he needs to learn to go "into the silence." Sutherland begins a study of Parmenides with a New Orleans professor who suggests that the physician put himself in a trance called Orphic Shamanism to contact the Divine for the purpose of healing.

Gibson's knowledge of Greek literature, Christianity, shamanism, meditation practices, philosophy, and metaphysics is extensive, and he interweaves these subjects into a suspenseful storyline without becoming didactic. Characters emerge from his medical background showing his adeptness at creating authentic personalities, and his extensive knowledge of healing — ancient and contemporary forms — strongly suggest the quality of care this compassionate, well-intentioned professional practiced during his career as a physician and teacher.

Gibson also rendered the pen and ink cover image of Into the Silence that is one of many works of art he has created and exhibited in Jackson, Mississippi as part of his lifework. Several years ago, he provided the pen and ink pointillism drawings in Illuminate, a book of poetry by his daughter Margaret Simon that communicates the beauty and mystery of the manifestation of God in the world. He also received an award in the 2012 Annual Cedars Juried Art Exhibition.

A Renaissance man actively working in retirement, Gibson is another author who joins Mississippi's impressive gallery of writers and artists.

Order from Border Press, P. O. Box 3124, Sewanee, TN 37375 or amazon.com

ILLUMINATE

Margaret Simon, one of my New Iberia, Louisiana friends, has chosen an apt title for a slender book of finely-crafted poems published by Border Press. The poems accompany the drawings of John Gibson, her father, who used a technical pen to execute arresting pictures in the tradition of pen and ink pointillism art.

Following a church service at the Episcopal Church of the Epiphany in New Iberia, Louisiana last year, Margaret told me that she had reviewed a collection of her father’s Christmas cards she had received through the years and conceived the idea of deepening her connection with her father by writing poems to express the religious verses he used to accompany the Christmas card drawings. The result is Illuminate, a book in which each poem is a “harmony creating a vision of love,” as Margaret writes in the first poem she conceived about her father’s art. The poem was an exercise she completed during a writing project retreat with former Louisiana poet laureate Darrell Bourque.

The cover of Illuminate by John Gibson features a drawing derived from a photograph he took of a small church in Salzburg following an all-night snowfall. The drawing became the basis for the first Christmas card he “illuminated.” Eleven drawings in Illuminate reflect Gibson’s passion to capture spiritual mysteries in art using the technique of pen and ink pointillism. He does not use lines, and most of the picture elements are created with small dots made by a technical pen with a 0.05-mm point – images of angels, wise men, Mary, and a manger scene that inspired Margaret to write a poem entitled “The Pointillist.”

Margaret’s poems show her command of the writing craft in the range of poetry forms she uses to deliver the message derived from her father’s ink drawings, about which he says: “it is the darkest dark that reveals the brightest light. So it seems also in life.” I was drawn to a sonnet about trees entitled “Dance of the Trees” that is a tribute to Margaret’s father and resonates with rich sound and rhythm:

Dance of the Trees

Look at trees, think of God who came to bring us love.

I watch you watching trees,

I watch you watching those trees

outside your window in the loft.

If you could walk on the roof,

if you could walk out on that roof and touch them—

you could feel their hearts beating,

their hearts beating out the rhythm of the wind.

I watch you drawing the trees.

I watch you drawing those trees

in perfect chiaroscuro, shading just so,

just so they come alive and dance.

The trees dance in the moonlight

when you draw them.

When you draw them, God’s hand moves.

God’s hand is moving.

Illuminate is a small volume, but it radiates with light and inspiration, with religious and nature themes. It’s a unique Christmas gift that celebrates the passion and faith of two family members who teamed up to create an artistic gem.

Margaret Gibson Simon teaches gifted students in Iberia Parish, has published poems in the journal, The Aurorean, and wrote a chapter about teaching poetry to young children for Women on Poetry published by McFarland and Co., Inc. She’s also the author of a young readers’ novel, Blessen, published in April, 2012 by Border Press. Margaret has a Masters degree in Gifted Education and certification by the National Boards for Professional Teaching Standards. She lives on the Bayou Teche with her husband Jeff in New Iberia, Louisiana.

John Gibson retired from medicine in 1997 and has been doing pen and ink pointillism for many years. He has displayed his work in galleries in the Jackson, Mississippi metropolitan area since 2001 and received second place in the 2012 Annual Cedars Juried Art Exhibition. He credits the “environment within which he lives for providing him with creations of nature such as trees and foliage and the magical effects of light and shadow as subject for his ink drawings.” He lives with his wife Dot on a lake in Madison County, Mississippi.

Order Illuminate online or from Border Press, PO Box 3124, Sewanee TN 37375.

EATING THE HEART FIRST

Strange, how poetry wells up out of small towns perched on the bayous of Louisiana, and fine poets seem to emerge from the mists, reading poems that reflect the watery landscape. Their works are almost organic, coming out of the soil and water of Acadiana, appearing at celebrations of the rural arts such as the Fire and Water Celebration I attended Saturday in Arnaudville, Louisiana. Arnaudville, population 1500, is a town near the muddy Bayou Teche, that body of water which has birthed a culture rich in the arts. The last time I visited Arnaudville in the 90’s, the town was just beginning to develop an artistic energy that has burgeoned and begun to attract new residents from throughout the U.S. Today it draws artists and musicians from around the world.



Darrell Bourque, former
Louisiana Poet Laureate

 I went to hear my friends, Darrell Bourque and Margaret Simon, read from their latest works and to reconnect with Clare Martin, a woman with whom I once worked on the executive staff of Bayou Girl Scout Council in Lafayette, Louisiana. During the 90’s, Clare worked as Public Relations Officer of the Council, and one day at coffee break, she showed me a few of her unpublished poems. After I had read the few poems that she handed to me, I could tell she had “voice,” and although the poems were dark, they were mysterious and filled with longing for a fulfilling work and life that touched me deeply. After both of us left the Council, I saw Clare a few times – on one occasion I wrote a letter of reference for her to work on her Master’s at the University of Louisiana at Lafayette; on another, I heard her read at a poetry celebration here in New Iberia. I lost touch with Clare but discovered Saturday that for the past eight years, she has found new life through her poetry, writing for the Avatar Review, Louisiana Literature, Poets and Artists, Glass: A Journal of Poetry, and publishing in numerous literary journals and poetry anthologies. She has also been nominated for several awards that include Best New Poet, Dzanc Books’ Best of the Web (2011), and Sundress Publication’s Best of the Net (2008 and 2011).



Clare Martin, Author of
Eating the Heart First

 In Arnaudville, Clare read from her debut book of poetry, Eating the Heart First, published by Press 53 in Winston Salem, North Carolina, and I was stunned by the power of the poems she shared with us. They ranged from memories about her first child, Adam, who was born weighing only two pounds and maimed with cerebral palsy, to her bouts with mental darkness, and I kept thinking of two famous female poets, Sylvia Plath and Anne Sexton, who gave us revelations of their darkest moments in stark and powerful language similar to that expressed in Eating the Heart First. I bought a copy of Clare’s book and spent Sat. evening reading the work of someone I had once divined would become a fine poet. Before I left the “Little Big Cup Restaurant,” site of the reading, Clare told me that she was going to send her book to Oprah, and I think she possesses just enough tenacity and talent to enlist Oprah’s endorsement of Eating the Heart First.



Authors: Diane Moore (L)
and Margaret Simon (R)

 Margaret Simon, author of Blessen, sat next to us at a front table, and was moved to tears by Clare’s reading, and Darrell Bourque, former poet laureate of Louisiana, whispered to me, “She is a good poet. Darrell endorsed the back cover of Eating the Heart First, praising Clare’s work as “an oneiric treatise guided by the powers she believes in: the power of memory, the power of water, the power of moons, the powers of longing, and the power of love.”







One of the shorter, lighter poems akin to Haiku that I favored in Eating the Heart First, is entitled “Tattoo:”

“She has a tattoo
on her hip of a painted
Chinese horse—the brushstroke
animal grazes at her waist.

Black ink struggles
as if locked in wind.
In muscular unison the horse
strides to her belly:
         a field of moons.

Copies of this impressive book of poetry can be purchased from Press 53, P.O. Box 30314, Winston-Salem, NC 27130. Cover design of Eating the Heart First by Kevin Morgan Watson, and cover art, “He Cometh Out of the Swamp,” by Pamela Womax. Author photo by Jo Depew.

BLESSEN…

Back in the 90’s when I coordinated a Women’s Writing Group called “Reflections” at the Episcopal Church of Epiphany in New Iberia, Louisiana, one of the class members, Margaret Simon, was at that time a schoolteacher at Epiphany Day School. Later, I published a compilation of the women’s writing entitled Meditations of My Heart, and Margaret’s meditations constituted a large part of the book. It was evident to me that Margaret was a writer—her meditations reflected deep feeling and were skillfully executed. Later, she joined other writing groups and began to teach creative writing to young people at several schools in Acadiana. She also published poetry in the journal The Aurorean and authored a chapter about teaching poetry to young children for Women on Poetry. When I went home to New Iberia this winter, Margaret shared the manuscript of a young adult book she had written entitled Blessen. I read the book straightaway and “straight through,” and knew after reading a few pages that Margaret had written a “winner,” a book that could be a candidate for the Newbery Award for Children’s Literature.

Blessen, published by Border Press, has the authentic voice of a young heroine named Blessen LaFleur who struggles with not-so-ordinary growing up crises in a small town of southwestern Louisiana: the death of a pet chicken, Blue, that is killed by a hawk, the accidental burning of Blessen’s grandfather’s porch when she tries to cremate Blue, the death of her beloved grandfather, and the startling discovery that her father is an alcoholic who deserted her and her mother because of his addiction. Margaret handles narrations about life teachings throughout Blessen without being didactic, especially the topics of faith and forgiveness.

This is a coming-of-age story set in bayou country, a locale that is deftly and tautly described; e.g., “The night sounds are scary and loud; cicadas, mourning doves, and frogs fill the air with a sad song…” and arresting metaphors such as “the sun rises like a dagger to the dawn…” Birds, flowers, and insects are also tautly drawn; e.g., the latter description: “The cicada buzz rises from the trees. It starts as a soft buzzing, then builds with more vibration, like a motor, then dies out, and begins again…”

Simon employs vivid concrete detail in the description of her characters: “Miss Ella Mae wears an American flag that flows in and out of her lumpy middle across her white T-shirt. The Fourth of July is a few weeks away, but Miss Ella is ready. Her black wig is in a hip style with red hairpieces sprouting like fireworks from the top of her head. She looks like the Fourth of July herself…” Young adults will love that passage!

The dialogue is plain, down-home conversation and moves the action through alternating passages of wit and wisdom, as Margaret weaves a tale about a heroine working out her life, “because she was saved for a reason” in this unique Cajun culture.

Although Blessen is a young adult novel of place, it will delight young people everywhere. A Mississippi native, Margaret seems to have “tasted bayou water” and become a transformed south Louisianan who loves the culture and its colorful characters.

This YA novel is complete with study questions for young people. Margaret has been an elementary school teacher for over twenty years and now teaches gifted students in Iberia Parish. She has a Masters degree in Gifted Education and certification by the National Board for Professional Teaching Standards.

I expect to see this debut novel reviewed in the distinguished journal of children’s literature, The Horn Book, any day now! Brava, Margaret!