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Category: Poetry

Chanda Feldman Produces Poetry On Ancestors and Achievement

Chanda Feldman starts Approaching the Fields with a poem containing the line, “Forget the dead stay down, they persist as haints.”

Approaching the Fields by Chanda Feldman lying on a wooden table

Feldman’s ancestors are the focus of this poetry collection, published in 2018 by Louisiana State University Press. The book documents their lives and legacies.

But Approaching the Fields is not merely an artist’s reflective look on those who came before her. It also explores the systemic oppression forced upon African Americans.

Chanda Feldman Portrays Persecution

Feldman’s poetry in this collection delivers binary value. They share her familial tales. And, in so doing, also portray the injustices faced by black Americans in the South.

The poet doesn’t highlight the abuse of African Americans in her poems. Instead, the persecution plays in the background, a soundtrack throughout the collection.

An example of this is Feldman’s poem, “Election Day.” In it, she portrays African American sharecroppers on Election Day.

The poem’s beginnings portray a celebratory mood at an outdoor barbecue. But then in the final stanza comes the lines:
The men, one by one, signed for their ballots.
The man you sharecropped for chose your say.

We read in history books that after 1870, African American men in the U.S. could vote. What we don’t understand is that even still, many of those men couldn’t vote for whom they chose.

It’s this blunt yet subtle sharing of the black American experience in the Southern United States that makes Approaching the Fields so masterful.

A Tale of Achievement

Chanda Feldman breaks Approaching the Fields into four parts.

The first part explores the author’s ancestral past. The second part focuses on her childhood, and on how her parents went from sharecropper’s kids to college students.

The book’s third part reflects her parents’ experience growing up in the segregated South. And the fourth part contains one poem, a piece that ties what we’ve read into a worthy recessional.

With her poems, Feldman penned songs for passing down through the ages. Her writing is crisp, clear, and enthralling. The pieces contain twists and turns of phrase that keep you reading one line to the next.

The collection illuminates the oppression faced by black Americans. Still, Feldman’s approach is not to preach. Instead, she informs through storytelling.

And Feldman does so without airing grievances, though there are many she could state. Yes, the stories are about a persecuted people in a place that excels at torturing them.

But in the end, Approaching the Fields is a celebration of achievement and progress in the face of traditional barriers. It’s the story of a sharecropper’s granddaughter knowing, appreciating, and documenting that from which she came.

Disclaimer: Louisiana State University Press provided me with a complimentary copy of Approaching the Fields. I was not required to write a review, be it positive or negative. The opinions expressed here are my own. And I have not received any compensation for writing this post.

This is Probably the Most Personally Touching Poetry I’ve Read in a While

Jim Whiteside came to my attention via Twitter, though I don’t remember the details.

Maybe a poet I followed retweeted one of his tweets. Or, maybe I saw him mentioned in a tweet. Either way, tweets played a role.Photo of Jim Whiteside's, Writing Your Name On the Glass

And shortly after discovering Whiteside’s Twitter account, I learned a few things:

  • He’s a poet with his first chapbook.
  • He’s gay.
  • The publisher of his chapbook is Bull City Press.

As I’m someone who tries to highlight authors and poets, I reached out to Bull City Press for a copy of Whiteside’s chapbook, Writing Your Name on the Glass.

I’ve been devouring the book’s poems since I first cracked its cover. These are words that speak to me in unique, relatable ways.

Jim Whiteside and Writing Your Name on the Glass

The poems in Writing Your Name on the Glass focus on love, intimacy, and relationships. And, as Whiteside is gay, this means the poems are by a man about being intimate with other men.

Admittedly, my exposure here is limited. Most of the poetry I read is by straight people, or it’s by people who because of the time in which they lived, could not live openly and freely as a gay person.

And so it is from Jim Whiteside these are poems that could easily have been about my experiences as they are about his. After all, we’re both white, gay men with rural American upbringings and are roughly in the same age category.

But it’s a disservice to Whiteside’s poetry to only say that his poetry is excellent because I find him relatable.

There is a crispness to his poems, pieces that simultaneously illuminate and sting. They expose our own concerns of adequateness, of wanting to love and be loved, of alternating moments of joy and pain.

For example, in “Held to the Wall, Driven as a Nail,” Whiteside writes:

“They say the great discovery is that

of the lover’s body, the way they must be
touched, how to love them properly.

But what if it is less discovery
and more command — touch me here,

and here, and here — the body schematic?

These are poems all of us can savor. It’s just that I relish them perhaps a little more because they feel ripped from my experiences.

Jim Whiteside’s Writing Your Name on the Glass is now available through Bull City Press.