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Résumé
Résumé
The American West conjures images of wide-open spaces, harsh but beautiful landscapes embroidered with winding rivers and streams, long dusty roads to nowhere, sagging barbed wire fences that separate neighbors in the loosest sense. Here the only hustle-bustle is the wind gathering strength across the plains and the rush to get a day's work done before darkness swallows the countryside whole. In this region where time and space are writ large and solitude is a fact of life, how exactly do friendships among women develop, let alone thrive? What does that human connection provide; what does it mean? And what can these friendships teach us about these women, about ourselves?
In the grassroots tradition of LEANING INTO THE WIND, WOVEN ON THE WIND collects true stories, poems, and reflections from women of the interior West--also known as sagebrush country--writing about their kinship with other women. A communion of voices, WOVEN ON THE WIND tells of the beauties, ironies, rigors, heartbreak, and humor of western life and how it is enriched by friendships past and present.
A mother makes a harrowing bus trip during a legendary storm to bring her blind daughter home for Christmas with the help of unlikely friends. A trio of women steal a motorcycle from an estranged husband for a wild ride to redemption. A newlywed finds a true sense of family in the faces of strangers, her new Black Crow kin. Handmade gifts left in a roadside mailbox help shepherd a terribly pregnant young wife through a harsh Montana winter. Through marriage, childbirth, drought, doubt,careers, catastrophes, and change, these western women stand strong or lean gratefully on their friends. The voices in this volume--unsentimental, unflinching, and utterly unforgettable--take us into the souls, kitchens, barns, and hearts of nearly 150 women and show us how, in a life stripped down to what really matters, friendship can both ground us and help us to grow.
Critiques (4)
Critique du Publishers Weekly
A fine collection of essays, poems and personal narratives about life in "sagebrush country," where friendships must weather numerous hardships, this tough and tender new work continues the collaborative effort begun in Leaning into the Wind (1997). The editors, who all manage working ranches, know firsthand the harsh realities of the American West and the bolstering power of friendship among women there. Indeed, sagebrush is a fitting symbol for women of the West, with its hardy adaptability and fundamental importance to the ecosystem. The editors gracefully present writing by more than 150 women like them. While all celebrate female camaraderie vividly distinctive against the backdrop of a vast, stark and often lonely terrain each tells a unique story. Karen Obrigewitch's brief essay "Who Else?" cuts to the heart of this collection: "How can any female survive without close women friends? Whom does she call when she needs affirmation, when her first-born leaves for college, when the calves don't bring enough cash to pay off the bank, or when her parents die? Who would cry with her?" Other contributors include Dorothy Blackcrow Mack on marrying into a Lakota family, Rose Hill about her blind mother crocheting in the dark and Lillian Vilborg on working on a single mother's farm. These stories illuminate the worn paths between farms and ranches and the simple pleasure of sitting on the back of a pickup sharing a cup of tea with a kindred spirit. (May) (c) Copyright PWxyz, LLC. All rights reserved
Critique de Booklist
Capitalizing on the popularity of Leaning into the Wind (1997), a collection of essays, stories, and poems that provided an overview of women's lives in the contemporary West, that book's editors reprise its successful format with a more narrowly defined focus. The theme is women's friendships in the American West, and more than 150 women contribute poems, anecdotes, and personal reflections that offer intimate perspectives on the nature of friendship in an often harsh and isolated environment. In hauntingly lyrical verse and forthright prose, the women who lend their eloquence to the compilation describe the significance of female relationships in what many consider to be a man's world. --Margaret Flanagan
Critique de Kirkus
From the editors of Leaning into the Wind (1997), an anthology of womens poems and essays that celebrate friendship in the High Plains, where winter comes early and distant neighbors become family. Some of these pieces are by published writers, others are first efforts; some are about remarkable relatives, others about unlikely strangers who changed their livesbut all share a love for the place itself, the life lived there, and the friendships that have sustained them. Here we form friendships that we expect to last the rest of our lives, observes Shannon Dyer. This is not Starbucks territory: these women train horses, deliver calves, and hike high mountain trails. They know how to handle guns as well as write poems. Many are ranchers, wives, or daughters of ranchers, and they live on the land that stretches from Alberta to the Mexican border. They make chokeberry jam together, get together for a girls night on the town, and go deer hunting together. Some, like Dorothy Blackcrow Mack, recall the lessons they learned from older women such as her Black Crow mother-in-law Emma (who taught her how to pick sage for the sweat lodge, butcher cattle, and cook native dishes like puppy soup). Betty Downs recalls how the stories of Ione (who as a young shepherdess learned how to be lonely) helped her as a new bride. Many recall friends who died, mothers who suffered from mental illness (counseling programs didnt exist in rural towns in the 1940s), and the closeness of family life. Susan Austen and Laurie Kutchins eloquently describe the spirit of a land where the wind clicks across the emptiness . . . winter shakes its body over the bare and lovely hills, and friendship is forged out of its drifts, its dust and mud and shadows. Vivid evocations of a place, its women, and how they live. Author tour
Critique du Library Journal
This anthology of more than 150 contemporary women writers from the West is a sequel to Leaning into the Wind (LJ 6/1/97). Through poetry, memoir, and essay, it examines the friendships of women leading secluded rural lives and how their bonds were formed over picking chokecherries, mending fences, or sipping coffee in the back of a pickup at sunset. Images of the West, the high plains, desert winds, and sagebrush are abundant, lending a romantic air to the uncomplicated prose. By focusing on the associations among women living in the remote West, the editors Hasselstrom (Bitter Creek Junction, Feels Like Far), Gaydell M. Collier (Basic Training for Horses), and Nancy Curtis (Black Heritage Sites) shed light on the complexity of relationships. Themes of isolation, intimacy, and independence weave through the pieces, unifying the collection as a whole. Regardless of demographics, the message is universal: relationships are necessary for survival. Though this collection leans toward the sentimental, it is eminently readable, having the appeal of being written by everyday women. There is nothing lofty about this book. On the contrary, it's proudly down to earth. Recommended for public libraries. Stephanie Maher, Warwick, RI (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Extraits
Extraits
I My Feet Set Down Roots: The Grounding Woven on the Wind begins with writing by Western women who have set their roots deep in the soil, drawing nourishment from the earth as well as from "women remembered." Life in this arid country has taught these women to stay "close to the wind, earth, creeks, grasslands," learning from the land and from each other. Hardy and versatile, women have always been part of the West, but they were often invisible to the mythmakers who did, and still do, view the West as a male fantasy. "The joys of a woman's life" were "not mentioned in books, not found in the universities or corporations." Ignoring the lively truth, or taking for granted women's triumphs and talents, official historians and literature professors often acknowledged only the "antiseptic remains of history." But the truths endured, "growing quietly in the hearts" of women scattered throughout the West. Sagebrush, too, was often ignored or overlooked. Until Kendall Johnson began referring to "Mama Sage," little homage was paid to sagebrush, and even less to Western women. Philip Fradkin says that sagebrush has come to dominate the plains "by pure ordinariness" and persistence, another apt description of women. Many biologists now believe that sagebrush is as essential to Western ecology as women are to humanity -- that without sagebrush, the entire ecosystem would collapse. For a while, women "pretended not to notice" being forgotten in formal accounts. Keeping busy with their households and other tasks, they kept an "undulant silence," accepting the idea that women were "supposed to want other things." Hiding the truth doesn't make it disappear. News stories about drug use, alcoholism, and other ills make it clear that the West is not immune to the problems of the larger world. But even poor soil, even the greasy, hard-packed clay we call gumbo, can bring forth beauty -- "gorgeous flowers in gumbo" -- just as many of the stories in these pages grew from difficulty. Telling our stories helps us realize how similar we are and creates connections between women "with wind- chapped cheeks and wrinkle lines" who may never have met. Just as sagebrush, deeply rooted, shelters other plants and feeds an abundance of wildlife, so these stories can provide comfort and community for others, both in the West and elsewhere. Stoic acceptance was the first rule of enduring hardship of any kind in many Western families. Tradition taught Westerners never to argue, never to complain, because "the more it hurts / the bigger the pearl." In joy or sadness, we sang or wept "without saying a word," learning from some of our elders that "lonely is a state of mind." Our silence sanctioned and helped promote the creation of a Western myth that had no place for the reality known to women. Each woman who has written her story has taken a stand, saying, "I chose to break my silence." Writing of friends, mothers, teachers, and others, ordinary women have recorded a rich and varied legacy of other women from the past. In poems and essays, "in quiet words we speak," each woman tells how her "feet set down roots," how she drew strength from others, learning to survive in spite of isolation and loneliness. Even as the editors compiled and shaped this manuscript, we knew that some tales would remain untold and found another striking parallel between women and the sagebrush outside their doors. Beneath the outer bark of sagebrush root hides a slender white filament called the heart thread. Only by peeling away the root's tough husk -- or opening up the dark shell of a woman's silence -- can we find the translucent heart. To learn how other women have illuminated our spirits, we must know their stories. If "we share our lives," we will remember the women who inspired us, and their light can "never dim, flicker, set, or be extinguished." But if our "deeper feelings are mostly inaccessible," we cannot move toward a deeper understanding of one another. The heroines in this "tapestry of tales" are often humble women with little to leave as souvenirs. We may find a thread to follow in objects as common as faded photographs in a tin box or as startling as a wooden leg in the attic. Although we may no longer see "their faces flashing in the sun," their wisdom enriches and inspires us. Through these pages, they live on to cast their light over a larger circle. "Rooted to the earth," the women who inhabit the following pages have grounded us and given us the courage to go forward. "Tapping into ancient rhythms," their stories set their roots deep in our hearts, showing us how to thrive and how to nourish. Copyright (c) 2001 by Gaydell Collier, Nancy Curtis,, and Linda Hasselstrom Excerpted from Woven on the Wind: Women Write about Friendship in the Sagebrush West by Linda Hasselstrom, Gaydell Collier, Nancy Curtis All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.Table des matières
Introduction: Voices Woven of Wind and Sage | p. xv |
I My Feet Set Down Roots: The Grounding | p. 1 |
My Heart Still Grins | p. 5 |
June and I, Singing | p. 6 |
Thinking of Rain in the Dry Season | p. 6 |
No Room for Strangers | p. 7 |
Dear Judy | p. 10 |
Letter to a "Friend" | p. 11 |
Goldie | p. 13 |
The Rapture | p. 14 |
Girls' Night Out | p. 14 |
Something of the Earth | p. 17 |
Sisters | p. 19 |
Love and Light | p. 20 |
Without a Doubt | p. 20 |
If... | p. 20 |
Pearls from the Milk | p. 21 |
Tea with Daphne | p. 23 |
Preserving | p. 24 |
Trinity | p. 26 |
Stella He | p. 28 |
Aunt Noi | p. 29 |
The Oddest Daughter | p. 30 |
Homemade Noodles | p. 33 |
The Path | p. 34 |
Secret Sin | p. 35 |
Ladies Aid | p. 37 |
Light | p. 38 |
Prairie Ocean | p. 41 |
That's What Neighbors Do | p. 42 |
Rosario | p. 43 |
Elvira | p. 44 |
Six Artists at a Country Retreat | p. 45 |
Beverly | p. 48 |
Twinkle, Twinkle Little Star | p. 50 |
Summer Friends | p. 52 |
Learning How to Be Lonely | p. 53 |
Dormant Seeds Sprouting | p. 55 |
Of Potatoes and the Wind | p. 57 |
Pearls | p. 59 |
The Art of Living the Moment | p. 61 |
The Women | p. 63 |
Sigga | p. 64 |
Lupe's Song | p. 66 |
The Lady Who Knew How to Live | p. 67 |
Resolving Mrs. Wackerly | p. 70 |
Spun Sugar | p. 72 |
Capes | p. 73 |
Wyoming Mother | p. 75 |
Women in the Rain | p. 77 |
Belonging to the Black Crows | p. 79 |
Pink Iron Nails | p. 84 |
Ghost of April, 1978 | p. 86 |
Joan | p. 88 |
Some Things Never Change | p. 88 |
Marriage | p. 92 |
Up Fortification Creek | p. 93 |
Divas for a Day | p. 95 |
Dear Berry | p. 96 |
Friends for Life | p. 98 |
A Man's Work | p. 100 |
II Leaves Speak for You: The Nourishing | p. 103 |
Chokecherries | p. 107 |
Coming Home | p. 107 |
Friends Because | p. 110 |
Letters to Lil | p. 111 |
Time for Friendship | p. 115 |
La-vin-i-a | p. 115 |
There Were No Women | p. 119 |
Because Men Rule | p. 122 |
The Reclamation | p. 123 |
Who Else? | p. 127 |
Gram's Vegetables | p. 127 |
At the Prairie, the Day Before | p. 129 |
Saying Good-bye to 'Nali | p. 131 |
Backbeat | p. 134 |
Strung on Sinew | p. 136 |
Handwork | p. 136 |
Whatever Works | p. 137 |
Lessons Learned by Hand | p. 140 |
Granma's Gloves | p. 143 |
Old Ladies Go Hunting | p. 143 |
Muskrat Ramble | p. 146 |
Spider Beside Her | p. 147 |
The Storm | p. 147 |
Passage | p. 152 |
End of the World | p. 153 |
Huddled for Warmth | p. 156 |
Mother Love | p. 156 |
The Woman, Listening on the Party Line | p. 158 |
Shifting Gears | p. 159 |
Co-Madres | p. 162 |
Barriers of Silence | p. 163 |
Majesty | p. 166 |
Hog Wars | p. 167 |
Don't Step in the Cactus | p. 169 |
The Night | p. 170 |
Trying to Remember She Is Now a Man | p. 170 |
Vi and Me | p. 171 |
Whistling Girls and Knitting | p. 173 |
Sybil Harris | p. 174 |
Barbed Wire and Robert Frost | p. 176 |
Knowing with the Heart | p. 177 |
Maybe Slower Is Better | p. 180 |
Leah, Bright and Dark | p. 181 |
The Heart Knows | p. 183 |
The Sunset Cafe | p. 184 |
At Forty-five | p. 186 |
Full Monty | p. 190 |
Living Without Loneliness | p. 191 |
A Woman's Place | p. 192 |
Sky, Grass, Rain, and Sage | p. 193 |
Daily Acts of Courage | p. 195 |
III New Flowers Unfolding: The Promise | p. 197 |
Oyurushi: Forgiveness | p. 201 |
The Company of Women | p. 201 |
She Was Writing | p. 203 |
The Wedding Shower | p. 204 |
Linda | p. 206 |
The Legacy | p. 207 |
Resurrections | p. 209 |
The Gift | p. 210 |
Word | p. 211 |
Tapestry of Knots | p. 216 |
Pilgrimage | p. 217 |
What Makes Our Lives | p. 219 |
Tea for Two | p. 220 |
Sisterhood | p. 222 |
Dear Ann | p. 223 |
Common Ground | p. 226 |
Holy Ground | p. 228 |
The Concubine | p. 231 |
Anneen | p. 234 |
Wild roses | p. 239 |
My Mother's Moccasins | p. 239 |
Her Soul Lives Here | p. 243 |
Let the Circle Be Unbroken | p. 245 |
Melissa | p. 246 |
Reclaiming Mother's World | p. 248 |
Matrimony | p. 249 |
The Shell Game | p. 250 |
Cycles | p. 252 |
Alva in the Fields | p. 253 |
How I Became My Own Woman | p. 254 |
Defying Bare Branches | p. 256 |
Dear Quilting Sisters | p. 258 |
Jean | p. 259 |
Come Home | p. 263 |
Before She Left | p. 263 |
How the West Was Won | p. 265 |
Car Pool Friendship | p. 267 |
Circled in Shadows | p. 269 |
To Breathe on My Own | p. 270 |
Below Zero--December | p. 272 |
Cultivating the Iris, Dawn of Change | p. 273 |
The Waiting | p. 278 |
To Smooth a Mountain | p. 279 |
Barefooting Summer | p. 280 |
The Field Road | p. 281 |
Community of Stones | p. 289 |
My Old Aunts Play Canasta in a Snowstorm | p. 290 |
Contributors | p. 295 |
Acknowledgments | p. 311 |
Credits | p. 312 |