There is a core of energy to Thomas Rain Crowe, a get-in-there and get-it-done spirit, evident both in his writings and the man himself.

So it isn’t surprising that when fellow poet and friend Brent Martin mentioned an interesting concept he’d stumbled across — a group, the Center for the Study of Place, reviving that great tradition in American letters, the poetry of place, through the project Voices from the American Land — Crowe was off and running.

“Thomas is Thomas,” Martin said affectionately.

Crowe, Martin said, contacted the nonprofit group involved, the Center for the Study of Place, and got down to business.

The result is a lovely little book, Every Breath Sings Mountains, featuring poems about the Southern Appalachians written by Crowe, Martin and Cherokee scholar Barbara R. Duncan.

The writing is superb, the subjects timely and meaningful, the book lovingly published, the illustrations by Robert Johnson of Yancey County are perfectly rendered.

“For those of us who love these mountains, this volume is a crucial reminder of what we have, and how easily it can be lost. Every Breath Sings Mountains is small in size but large in wisdom,” as author Ron Rash noted of this exquisitely presented book of poems.

A book launch is set for 7:30 p.m. on Sept. 23 at in the community room of the Jackson County library complex in Sylva. The event, however, is intended as more than simply a forum to introduce the community to Every Breath Sings Mountains, as enjoyable as that alone would undoubtedly prove.

Many of the region’s most notable authors will be there to help create a multi-layered event, to create on this night their own Voices from the American Land, through readings, conversations, music and more. The event’s major sponsor is the N.C. Humanities Council.

Charles Frazier, Wayne Caldwell, Keith Flynn, George Ellison and John Lane will carry on “conservations.” Sylva’s own Ian Moore will perform his unique, Southern-Appalachian inspired style of music. Duncan, Martin and Crowe will read poems from the chapbook. Johnson, the book’s illustrator, will show work from the chapbook. George Frizzell of Western Carolina University, William Shelton, a farmer and former commissioner, and Jerry Elder, a revered Cherokee elder, will be guest speakers.

As Crowe put it, “we’re throwing a party to celebrate the place in which we live. A unique and relatively large group of accomplished authors, Cherokee elders, political spokespersons, scholars, musicians, cooks and bookstore reps all in one place. In this case, ‘the whole’ is greater than the sum of its parts.”

The region’s “uniqueness, diversity and starpower,” Crowe said, all on display, and intertwined with the very serious mission of protecting this area from devastating outside, or economic, encroachment.

“The Great Smoky Mountains is a special part of the world and we, as authors and artists, write and sing about it in order to plant the seeds of sustainability in the public mind so that we, our children and grandchildren, will have a beautiful place to live and prosper into the indefinite future,” Crowe said.

With Frazier’s new novel set for release Sept. 27, the event provides an opportunity for people in this area to get inscriptions in his new book. These personalized books, however, won’t be available for pickup until the actual release day, by orders of the publisher, Crowe noted.

Voices from the American Land

This unusual land conservation program uses contemporary poetic voices to “move the message of the land.” Through chapbook publication, local readings and educational activities, the group seeks to revive and amplify a dominant tradition in American letters: the poetry of place. In this way, it seeks to celebrate and help protect America’s extraordinary heritage of land and landscape.

Voices from the American Land was founded in 2008 by a group of writers, editors, and graphic designers who had worked together for some years on a quite successful series of local poetry readings in Placitas, N.M., taking place every winter solstice.

The organizers met with poets and editors from New York, Virginia, Colorado, California, and other parts of the country to discuss whether the idea of a national program of chapbook publication, and readings, could make its way. The idea of single-author chapbooks was the key feature of the program, since they could be inexpensive to produce, and could concentrate on a single landscape or locale needful of conservation.

Source: Voices from the American Land

“Over rock and gravel bed

Mingus Creek runs fast through the tall trees.

Diverted by a makeshift dam,

It turns to the right

Into a millrace lined with boards.

An ‘Appalachian aqueduct,’

race becomes flume

and flume becomes water’s trestle as

it flows downhill to the mill.”

— Thomas Rain Crowe, from “Mingus Mill.”

“English place names

clatter on our tongues

cacophonous gibberish:

Soco

Oconaluftee

Tusquitee.

They mean:

Nothing.

They signify:

People were here, now gone.

The names remain, shadows.”

— Barbara R. Duncan, from “Naming Place.”

“Here is where Brush Creek at last frees itself

from State Highway 28

and shouts hallelujah as it races

into the wilds of the Needmore game lands.

Here the creek leaves behind its burden of old sofas,

washing machines, car parts, and garbage.

Here people were once free of the need

for such things; and here things were thrown

after the need was placed upon them. …”

— Brent Martin, from “Homeplace.”

In a crowded high-school classroom last Friday, under bright fluorescent lights, a little over 50 people crammed into hard, plastic chairs and desks or stood tucked into corners. A mix of the young and old, students, teachers and adults, they had come to hear from Emily Dickinson, to catch a few words from Henry Wadsworth Longfellow and Naomi Shihab Nye. They had come to witness the first Haywood County district Poetry Out Loud competition, where 15 high school students stepped, for a minute, out of their own lives and channel the heavy hitters of poetry, both living and dead.

It’s all a part of the national Poetry Out Loud program, a poetry recitation competition now in its sixth year that brings high-school students across the country into the world of spoken-word poetry.

The Haywood competition was a culmination of competitions held in classrooms across the county, each English class picking its best performer to send to a school-wide competition, and those winners advancing to the district challenge. The district victor was Tuscola senior Anne Kram, who took the prize for her gripping rendition of Sanctuary by Jean Valentine.

In addition to bragging rights and a basket full of poetry-related swag from local businesses, Kram will now journey to Raleigh in March to go head-to-head with other poetry aficionados from around the state. If she gets as far as the national competition in April, there’s a $20,000 pot up for grabs.

But that’s not why Haywood County’s high schools got involved in the program, said Tuscola High School English teacher and district program coordinator Helen Pollifrone. She said teachers were tipped off to the idea by the Haywood Arts Council, which has supported the program throughout the year. When the school system decided to apply for — and subsequently won — a two-day poetry workshop with Haywood County poet Michael Beadle, the spark of excitement for poetry lit in their students, Pollifrone said.

“That’s what really got the kids excited about the whole recitation thing,” said Pollifrone. “When this first started, we thought we might have a couple of students. And all of us were really surprised at how many students were just thrilled to do it. And picked poems that are tough.”

Although sending a student to the state competition is exciting for the district’s teachers, Pollifrone said the best outcome was that ardor for learning and poetic expression that it kindled in many students.

“I think they got a whole new appreciation for poetry,” Pollifrone said.  “So many of our students thought of poetry as something they had to read, something they didn’t feel connected to.”

But now, she said, students are already coming to her discussing what poems they’ll select for next year’s competition.

This renewal of interest in poetry is one of the main aims of the national Poetry Out Loud program, which is sponsored by the National Endowment for the Arts and the Poetry Foundation. Poetry has been creeping back into the mainstream cultural consciousness thanks to the slam poetry movement and the raging popularity of hip-hop music. Poetry Out Loud was born on the coattails of that success, created to inspire students not only to love poetry but to love performance and conquer the fear of public speaking.

The program not only offers a venue for competition but gives teachers a wealth of curriculum and lesson-planning resources to back up the short recitations with real knowledge. Help like this, said Pollifrone, is one of the best things the program has offered them. To be successful, she said, students don’t just have to hone their performance skills, they have to really know their poet, must truly learn about their poem.

“It wasn’t just standing up there and reading a poem,” said Pollifrone. “You had to recite it, so you had to memorize it. They really, really had to know their poems to get up and do that. They had to get to know their poem, they had to get to know their author in order to really put the voice to it.”

And, she said, some of the most successful students were also some of the most surprising.

“Some of the students that got up just did these dramatic recitations,” she said. “We were shocked. Some kids who normally aren’t the leaders in the classroom academically, it allowed them to shine in a different light.”

For most of students, the competition is now over, but they’re still so excited about it that they’re already looking to next year’s competition, asking how they can improve and scanning the Poetry Out Loud eligible poem lists for the perfect piece. And Pollifrone said that, if for that alone, the program is worth keeping.

“That, to me, is a success,” she laughed,  “if it has kids wanting to go out and read poetry.”

Haywood students taking part:

“April is the cruelest of months, breeding/ lilacs out of the dead land” — so wrote T.S. Eliot in the much-cited first two lines of “The Waste Land.”

April is also National Poetry Month. Had he lived today, Eliot may have rewritten those lines to say that “April is the cruelest of months, breeding/poems out of a dead land.” For the poetry of the last 20 years is, in so many ways, bred out of a dead land, soil on which multitudes sow and toil but few reap. Many people today continue to love and read poetry; but many less continue to read and love poetry written in the last forty years. There are thousands of outlets for publishing poetry, and tens of thousands of poets, but the number of readers in any given city of today’s poets might not fill a middling pub. Even poets don’t read the poetry of their contemporaries.

One clue for this dearth of readers and the plenitude of poets may be found in the field of post-modern painting. Visual artists of the last 50 to 60 years have stopped, for the most part, trying to connect with the common man, the guy in the streets, through representational art and have instead focused their efforts and their talents on either shocking viewers or on creating works so abstract and obscure that only patrons with a Ph.D. in art can appreciate their form and meaning.

Like these artists, many poets have forgotten that their audience could be larger than a few other poets and a wayward fan or two. Readers who doubt this statement need only open a recent copy of The Norton Anthology of Poetry and compare work of the poets born after 1940 to that of the poets going back to Chaucer. In most cases, Chaucer’s Middle English is more easily comprehended than some of the modernist and postmodernist verse.

There are, fortunately, exceptions which give those of us who love poetry some small consolation. There are poets — Fred Chappell (a Canton native), for instance, or Mary Oliver — whose work appeals to those outside of the university or some tight circle of poets, whose words are still comprehensible without need of a dictionary or a psychiatrist. One such poet is Wendell Berry.

Berry, the author of more than 50 books of fiction, essays, and poetry, a farmer from Henry County, Kentucky, who is a strong advocate for the land and for simplicity, has recently written Leavings: Poems (Counterpoint Press, ISBN 978-158243-534-3, 2010, $23). Here again, as in his other poetry, Berry reveals his passions for the vanishing land and for nature, his Robinson Jefferson distaste for big government, his advocacy of small enterprises over large ones. Here he writes of a stream, Camp Branch:

When we who know you by name

are gone, what will they call you?

When our nation has fallen as all

things fall, when the Constitution

Is only another paper god, prayed to

and lied to by only another

autocrat, what will they call you?

Given his age — Berry will turn 76 in August — it is only natural perhaps that the poet should turn his thoughts toward death and what may lie beyond the grave. This short poem may well encapsulate Berry’s religious beliefs:

I know that I have life

only insofar as I have love.

I have no love

except it come from Thee.

Help me, please, to carry

this candle against the wind.

In the three line“Like Snow,” Berry writes beautifully of the idea of work:

Suppose we did our work

like the snow, quietly, quietly,

leaving nothing out.

The last poem of Leavings perhaps sums up the themes of the book — and of Berry’s writings:

By its own logic, greed

finally destroys itself,

as Lear’s wicked daughters

learned to their horror, as

we are learning to our own.

What greed builds is built

by destruction of the materials

and lives of which it is built.

Only mourners survive.

This is the “creative destruction”

of which learned economists

speak in praise. But what is made

by destruction comes down at last

to a stable floor, a bed

of straw, and for those with sight

light in darkness.

Leavings is not Berry’s strongest work, but it does grant us yet another audience with a man who has lived by his principles and who still has much to teach us.

•••

In Strays (ISBN 978-0-9749199-1-1, $14.95), Jeanne Webster tells the story of Jane Morgan, a young woman whose relationship with her boyfriend is ending and who has just lost her job as a staff reporter for an Atlanta newspaper. Offered the use of a cabin in the mountains for a month, Jane is settling into her retreat when she falls and hits her head. When she recovers consciousness, she discovers that she has mysteriously acquired the ability to hear the voices of plants and animals around her.

Her friendship with Max, a stray dog, with Grandmother Spider, the Great Snake, and others enable Jane to realize that not only are human beings more deeply connected to the planet and its creatures than they ever realize, but that beyond the world of the seen lies another deeper, sacred reality.

(Jeff Minick is a writer and teacher who lives in Asheville. He can be reached at This email address is being protected from spambots. You need JavaScript enabled to view it..)

By Michael Beadle

Sara Tramper can take you to the powwow at end of the world.

In a Prominent Bar in Secaucus: New and Selected Poems, 1955 by X.J. Kennedy. — The Johns Hopkins University Press, 2007. 224 pages

Although tens of thousands of American citizens today may call themselves poets, the fact is that poetry has hit hard times. Despite the fact that verse seems conducive to our hamster-wheel, ADD culture — poetry does, after all, have the virtue of brevity; even a slow reader could gulp down three or four poems of average length in less time than it takes to eat a Happy Meal — we have more poets than ever before and fewer readers of poetry. Some commentators have remarked that even poets themselves don’t read much poetry anymore.

National Poetry Month

In honor of National Poetry Month this April, here are some recommendations for poetry lovers and those seeking to learn more about the craft. First, a few books...