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It is a wistful, yet wishful poetry, filled with a longing to present and preserve parts of a past and its participants that have been blown away as if with the churning wind turning through the town in "Dust Storm. Like Elizabeth Bishop recalling her own home area of New England and Nova Scotia, Patricia Fargnoli is most comfortable and at ease when delivering to readers the landscape and shoreline of her native New England. He was a perfectionist and so introduced me to the idea of craft, 'a small thing done well. In machine shops in Houston, Lubbock, Midland, and Snyder, Texas, I would as a boy stand on the wooden ramp next to my father and watch his hands move gracefully and efficiently over the lathe, maneuvering the levers and rotary handles and making the bit move in and out, back and forth, as the huge chuck spun a section of drill pipe in its iron grip. In his interview with Mariani, Fairchild reveals a few origins and influences contributing to his mix of lyrical and narrative, always extracting eloquent poetry from less obviously elegant sources of inspiration:

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This veneration that fills his poetry is further demonstrated in the poem's final lines as the men "kneel" to tie their shoes and exit at the end of a workday, but also might be viewed as leaving behind them an era that no longer exists except now in Fairchild's memory and art:

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BOOKS & OTHER WRITINGS

Little, and Jean Nordhaus. Lizzie MacGregor pub Polygon Disclaimer: Fairchild seems to invite each perspective. Each of us is old and our brave silks begin to fall from us. In "Speaking the Names," one of the poems later reprinted in The Art of the Lathe, Fairchild revisits land where an abandoned farmhouse and vacant barn stand as monuments to those who no longer linger except in his memory: For instance, "West Texas" opens with the line, "My red Ford running to rust idles," similar to the first image in the book's title poem, "Local Knowledge": Duties of the Spirit.

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