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4.0 ★★★★★
Based on 15 reviews
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★★★★★ 3
I Recommend It, But Not Much
Format: Paperback
This book is recommended in SELF-EDITING FOR THE FICTION WRITER, a book I have read twice and enjoyed a great deal. I had to give Gardner a try.
This is a tough review to write because I can't say this is a fantastic book to help one write fiction. At the same time, there is little or nothing said that I disagree with. So, what's the problem?
My confusion starts with my expectations when reading a book about writing. It's a situation where I want to gain information and hints on how to write better, without being bombarded by direction on how to write. This criteria has served me well and I've found a number of writing books that made me write or want to write better; SELF-EDITION FOR THE FICTION WRITER is one, THE FICTION WRITER'S WORKSHOP is another.
Judging by that, this book didn't pass muster. Rather than coming away with a new awareness of what I want to include or exclude from my own work, I'm left feeling like I've been having coffee with an experienced author full of sweeping opinions on craft.
He's crafty in one way, his ability to pull me in with the sense of being an insider, watching other fiction writers through thick glass. He uses a lot of lines like "The writer who can't distinguish truth from a peanut-butter sandwich can never write good fiction. What he affirms, we deny, throwing away his book in indignation..." The implication isn't about writers of bad fiction so much as it is about 'us', him and I, being partnered in our unique ability to indignantly recognize a lousy writer. In fact, we're pretty decent to only discard the book when we're entitled to exact creative justice on its sloppy author.
Still, and here's the rub, it isn't a bad read. Don't skip an hour of writing to sit down with this book but if you're between projects and have the time, I'd recommend it.
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Reviewed in the United States on July 11, 2010
★★★★★ 5
Good Guide to Writing in General
Format: Paperback
What Gardener says about fiction can equally apply to writing any good prose. He was a master teacher and this book definitely shows his skills in conveying the underlying knowledge to others.
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Reviewed in the United States on December 30, 2024
★★★★★ 5
First Aid for Writers Seeking to Tell Stories
Format: Paperback
This is such a wonderful tool for anyone who has a yearning to write fiction. Gardner's voice is challenging, nurturing and extremely informative for those who have a passion to jump on the path for mastering the art of story telling. He can be curt and dismissive for those who get 'lazy,' even taking to task some very skilled and famous writer's more feeble attempts (Hello, Mr. Faulkner). Gardener is a strong advocate of W.W. Watt's masterpiece for beginning writer's "An American Rhetoric," a book that is out of print , but can be found in many larger public libraries.
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Reviewed in the United States on March 31, 2016
★★★★★ 5
” shows what it is like to be young and irresponsible
Format: Paperback
This book offers relatable poems about youth all the way up to adulthood. No matter the readers’ age, they can find something relatable in this book.
One of the first poems, “River Gods,” shows what it is like to be young and irresponsible. This poem describes an instance where two young guys are walking on top of a railroad trestle, which is above the Tennessee River. “Since no one wants to cheat a foolish death alone, / I convinced my friend to leave his satchel on the bank / and we stepped out a hundred feet over the night” (“River Gods,” 13-15). This stanza shows that the two guys knew that what they were doing was dangerous and potentially deadly. This poem in comparison with other poems in this book really demonstrates recklessness in youth.
While in that poem readers see the recklessness associated with youth, “Piano Key,” a later poem in the book, provides an insight into a more serious adulthood. In this poem, the narrator is dealing with the memories associated with his grandmother’s piano.
I plunk my way left to right, up from the deep-forest
Bass notes toward the bright high registers,
Just past middle C, a dead spot I remember as a child,
A crucial note that will not sing. (“Piano Key,” 13-16)
The narrator does not provide much insight into his emotions, besides the fact the narrator is remembering something from when he was a child, but there is a sense of longing created because his grandmother is likely dead, which is why he is reminiscing about the piano. Going from “River Gods” to “Piano Key” provides different narrators. The first narrator does not care about his future; he only cares about what he is doing right at that moment. The narrator in “Piano Key” is thinking about the future and the past. If these narrators are the same, readers can definitely see how the narrator has changed and grown up.
In “Digging the Pond,” there is a notable shift where the narrator, a young teenager, notices that him and his dad are different.
He can name every species of tree, wild root,
the compounds of the soil in every field,
and knows that I stood off to the side too often
to learn what he was born knowing. (“Digging the Pond,” 21-24)
In this part of the poem, the narrator is realizing that he does not know something that his dad knows really well. When a child notices that they are different than their parent, it is usually a significant moment in that child’s life. The narrator in this poem seems to be realizing that he is growing up and changing; he knows he is no longer doing everything his parents are doing or enjoying it.
Tennessee Landscape with Blighted Pine is a great book for poems about growing up and changing. This book grows with readers as the readers grow. I highly recommend this book.
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Reviewed in the United States on November 30, 2017
★★★★★ 5
A fine performance
Format: Paperback
You see an old pocket knife on the cover, maybe a Case; it may have even belonged to Jesse Graves, but he has certainly used it
in sculpting his poetry. "Tennessee Landscape" is pure plain speech, and all the more evocative for it. Graves uses language not to shock, not incite and not to transgress; he uses it to bring home simple and time worn truths that never go away. In the poem that is the book's title, Graves recounts his family history and ends telling us "The dead move through us at their will, their voices chime/just beyond our hearing...alone in the field, and never alone." He pays homage to a farming tool"(Elegy for a Hay Rake), not with a tone of jaundiced cynicism, speaking to it instead in a voice filled with thanks and appreciation, as if the hay rake, too,knew how worthwhile its job had been.
The second part of the volume expands Graves' geography from East Tennessee to New Orleans, North Carolina, points beyond, and the cast of subjects becomes a little broader as well, but the language remains firm and precise. "The Night Cafe: North Rendon, New Orleans": diction so perfect I feel I was there that night too. "My Sister at Sea": likely my favorite here. It feels personal, a short glimpse into a private heart; the glimpse is snatched away in a hurry but not before Graves tells us "...wishing I could bring/ you to this shore...Make your illness a small boat we could burn/Sailing out in ashes on the current."
Whether it is a landscape, a hay rake, a bar or a loved one, Jesse Graves is a poet of things that last, one who writes quiet confessions with confidence in a spare quiet and sure voice.
Very highly recommend this book.
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Reviewed in the United States on February 24, 2013
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