All posts tagged: Ralph Sneeden

Holiday Reads 2024

Curated by SAM SPRATFORD
 
Exploring migration from the perspective of plants; mystical historical fiction that will transport you from New England to Haiti; and one woman’s chance to do life over again.
 
We revisited our community’s favorite reads from throughout the year and compiled a list of memoirs, essay collections, novels, and creative nonfiction works to inspire a diverse holiday reading list, or kick off your reading plans for the new year. All of these titles were originally highlighted in our “What We’re Reading” and Book Reviews columns, and we think they deserve a second spotlight. Read on for recommendations from the Phoenix desert, the Indian subcontinent, the seaside, and more.
 
 
cover of you get what you pay for
 
Morgan Parker’s You Get What You Pay For
 
A poetic memoir-in-essays about Parker’s struggle to live freely amid the omnipresent legacy of enslavement in America. Beginning with her childhood as the only Black girl in a conservative, religious town, Parker moves between wide-ranging topics—including everything from cop killings, to plantation tours, to therapy and Jay-Z—but frames it all with the motif of the slave ship.
Holiday Reads 2024
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Through the Lens of the Littoral: A Review of Ralph Sneeden’s The Legible Element

By RALPH SNEEDEN
Reviewed By MATT W. MILLER

Cover of "The Legible Element" by Ralph Sneeden picturing a shoreline.

Narratively driven and lyrically evocative, The Legible Element by Ralph Sneeden is a collection of personal essays that threads stories of surfing, sailing, teaching, fishing, and even pond hockey through deep meditations about adolescence, fatherhood, marriage, family, aging, and the natural world. A kind of memoir-in-essays, the book uses these experiences and the vehicle of the “I” as a way to explore a life lived by and for water.

Through the Lens of the Littoral: A Review of Ralph Sneeden’s The Legible Element
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Fugues, Evidence, and Arguments: A Poet Finds His Way

PAUL YOON interviews RALPH SNEEDEN

 

Headshot of Ralph Sneeden

In this interview, Ralph Sneeden traces his journey as a poet and essayist, avoiding the destructiveness of being pigeonholed, the inherent politicality of landscapes, and drawing from a pool of resources and poetic techniques to achieve a voice that is at once reflective, visceral, meditative, exploratory, and willing to uncover the veil of comfort and human complexity in an attempt to “testify, to lay bare the quirks, ironies and nuances of history in a way that suggests something new or different about them.”


Fugues, Evidence, and Arguments: A Poet Finds His Way
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Blaenavon

By RALPH SNEEDEN 

rusty farm machinery

We thought it was just going to be a tour of the defunct coal mine’s aboveground facility, which was already troubling enough. The winding wheels and framework for the conveyor system at the “pit head” were like the superstructure of an abandoned carnival, like the one I’d read about near Chernobyl.

Blaenavon
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Looking for Ice

By RALPH SNEEDEN

I.

At the boarding school where I teach, my campus residence bears a plaque with the name of an English teacher who drowned after falling through ice. He had been skating on the river after the year’s first deep freeze, which had been followed by a snowstorm. I was told that once his pickup hockey game had ended and the players dispersed, he made the choice to remain behind, to skate upriver, enticed, perhaps, by the beauty of new snow, to explore the transformed hemlock-banked waterway alone. This happened the winter I was hired, before I started teaching the following fall. Our paths had crossed briefly during a fellowship in New York City and at a cookout in New Hampshire with friends we had in common. I didn’t know him well, but liked him immediately, and afterward I felt as if I’d lost a friend, a kindred spirit. I appreciate what he might have felt. The power that could have drawn him onward along that white, unblemished path until it betrayed him.

Looking for Ice
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Friday Reads: May 2015

Friday Reads: May 2015
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Stepping Off

By RALPH SNEEDEN

“And we went on living it, like a wave, that doesn’t know
it is at every moment different water.”
—Alan Williamson, from “A Childhood Around 1950”

In 1967 I almost drowned when I wandered from a sandbar and dropped into a deep cleft. That particular summer on the Jersey Shore, my older sisters had taken to riding what seemed to be kind, propellant waves with the rafts our mother had rented near the boardwalk, the industrial canvas sort you couldn’t buy in a store. I wasn’t a confident swimmer yet, so my mother wouldn’t even let me near one, which made no sense; the rafts were oversized life preservers, after all.

Stepping Off
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Django: Elegies and Improvisations with Small Boats

Cikovsky, Nicolai; "The Inlet at Wooley Pond", 1945; Parrish Art Museum, Southampton, NY

When a boat dies, you usually have two choices: pay hundreds of dollars to have it hauled away, or let it molder and sink into some secluded corner of the yard. A quick tour of my wife’s parents’ town on the South Shore of Massachusetts, where I moored my boat, would suggest that the latter is the norm: those husks and dark prows entombed in plain sight beside rotting cordwood, abandoned swing-sets. Last year, when I discovered that the oaken keel of my sailboat had rotted irreparably, I embarked on my first experiment with time-lapse photography. I rented for twenty dollars a “reciprocating saw”—the contractor’s principal instrument of demolition—known as a Sawzall. After positioning my iPad on a kitchen chair in the driveway of my in-laws’ home, then unraveling forty yards of extension cord from the garage, I plugged in the nasty tool—part torpedo, part robotic swordfish—and grimly laid into the carapace of the little boat over which I had worried and fussed for almost ten years.

Django: Elegies and Improvisations with Small Boats
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