A Staircase in the Chimes of Time
A Staircase in the Chimes of Time encompasses a wide range of experiences. Both autographic and vicarious—not all to be taken literally. With the inclusion of an autobiographical essay, which can be taken literally, the messages comprising this book tell a universal story of a life's journey from the innocence of childhood to the eye-opening reality of a world that is often harsh and relentless on its seamy side, and finally, to the stage of life where the journey gets reviewed and approved.
Essentially, readers will find A Staircase in the Chimes of Time an interesting and compelling read, brimming with history and nostalgia for the past and with hope for the future. As an added delight, the book is written in highly accessible language and is rich in imagery.
Essentially, readers will find A Staircase in the Chimes of Time an interesting and compelling read, brimming with history and nostalgia for the past and with hope for the future. As an added delight, the book is written in highly accessible language and is rich in imagery.
Book Details:
100 pages Standard Color 6x9 inches Categories: Poetry, American, African American Poetry, Subjects & Themes, Places Poetry, Subjects & Themes, Women Authors |
ISBNs:
978-1-5255-2699-2 eBook 978-1-5255-2698-5 Paperback 978-1-5255-2697-8 Hardcover Keywords: Deep South, Childhood, God, 1950s, Garden, Family, Good Vs Evil |
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REVIEWS
“Sarah Smith Ducksworth’s poetry collection . . . is about identity, perseverance, and the human spirit. . . . What’s most powerful is the authenticity and confidence of the speaker’s voice and the striking figurative language that evokes a mostly bygone era in the American South. Readers nostalgic for this particular time and place and those seeking an uplifting and reflective read will land gently here.”
—Blue Ink, June 2015
—Blue Ink, June 2015
“A voice that is both confident and self-aware makes this a brave and comprehensive poetry collection. Throughout this book of poetry, the speaker is able to reflect wisely on specific events or experiences and transform them into their own unique voice, one that acknowledges the poems’ larger meanings in the present moment. Very little is spared in Ducksworth’s writing . . . There are semblances of blank verse, image poetry, and even a few haiku, all of which provide an engaging array of poetic voices. Ducksworth builds a staircase of personal reflections and experiences, none of which are excluded from the whole, and all of which fits into it.”
—Kenny Jakubas, Foreword, June 2015
—Kenny Jakubas, Foreword, June 2015
“. . . this collection of poetry is a personal response to the times and nature of Ducksworth’s world. With the power of her words, this woman takes us on a journey into her psyche in a manner that illuminates not only her life but all lives. These poems embrace the joy, horror, laughter and sorrow of lives deeply lived, which ultimately becomes the pact we make with the universe and/or God. In words accessible to everyone, this poet titillates, humors, and haunts. The tone and attitude of her poems seem well suited to their language.”
—Diane Elliott, US Review of Books, January 2015
—Diane Elliott, US Review of Books, January 2015
"Reading Ducksworth’s poems, you experience a life that was filled with uneven stairs, hard to climb, broken in spots, but that continued up, so that with enough work, dedication and faith, it was possible to keep climbing to the top.”
—Barbara Rybolt, Independent Press, April 2015
—Barbara Rybolt, Independent Press, April 2015
"Ducksworth offers a debut collection of poems contemplating her life in and apart from the world of literature.
Divided into three sections, these 38 poems and one short essay represent a lifetime of wisdom from a longtime educator. In the first section, “Reflections,” the author explores childhood experiences and epiphanies, such as killing a snake in “Blackberry Picking” and playing in the toxic spray from the truck of the “Mosquito Man” in “Decatur Street”: “Was Decatur Street chosen by default / To halt mosquitos at the color line / Separating Mosquito Man’s world from mine?” In the next section, “Reality,” the poet confronts the joys and hardships of love and lust and shows an increased interest in the timeless dialogue of literature. In the final section, “Renacence,” the collection achieves striking moments of clarity regarding race and the poet’s purpose, rendered in the most stripped-down verses offered thus far: “I want my words to engage in dialogue with my soul / Unlock secrets and define the meaning of my life. / I want my words to be precis/Honeymoon the point they
can imprint strength and peace / And etch understanding.” Ducksworth is overly fond of end rhymes, which too often give her poems a rushed, dashed-off quality: “For she was trapped by a history / Which to Henry was still a mystery / He could not fathom why / Saphira always acted so shy / When signs of love were in her eyes.” She’s at her best when she isn’t fishing for such rhymes, but rather allowing her voice to flow unadorned, as in a poem about great vernacular poet Robert Burns."
--Kirkus Reviews
Divided into three sections, these 38 poems and one short essay represent a lifetime of wisdom from a longtime educator. In the first section, “Reflections,” the author explores childhood experiences and epiphanies, such as killing a snake in “Blackberry Picking” and playing in the toxic spray from the truck of the “Mosquito Man” in “Decatur Street”: “Was Decatur Street chosen by default / To halt mosquitos at the color line / Separating Mosquito Man’s world from mine?” In the next section, “Reality,” the poet confronts the joys and hardships of love and lust and shows an increased interest in the timeless dialogue of literature. In the final section, “Renacence,” the collection achieves striking moments of clarity regarding race and the poet’s purpose, rendered in the most stripped-down verses offered thus far: “I want my words to engage in dialogue with my soul / Unlock secrets and define the meaning of my life. / I want my words to be precis/Honeymoon the point they
can imprint strength and peace / And etch understanding.” Ducksworth is overly fond of end rhymes, which too often give her poems a rushed, dashed-off quality: “For she was trapped by a history / Which to Henry was still a mystery / He could not fathom why / Saphira always acted so shy / When signs of love were in her eyes.” She’s at her best when she isn’t fishing for such rhymes, but rather allowing her voice to flow unadorned, as in a poem about great vernacular poet Robert Burns."
--Kirkus Reviews