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In his tenth collection of poetry, Franz Wright gives us an exquisite book of reconciliation with the past and acceptance of what may come in the future. From his earliest years, he writes in “Will,” he had “the gift of impermanence / so I would be ready, / accompanied / by a rage to prove them wrong / . . . and that I too was worthy of love.” This rage comes coupled with the poet’s own brand of love, what he calls “one / strange alone / heart’s wish / to help all / hearts.” Poetry is indeed Wright’s help, and he delivers it to us with a wry sense of the daily in America: in his wonderfully local relationship to God (whom he encounters along with a catfish in the emerald shallows of Walden Pond); in the little West Virginia motel of the title poem, on the banks of the great Ohio River, where “Tammy Wynette’s on the marquee” and he is visited by the figure of Walt Whitman, “examining the tear on a dead face.” Here, in Wheeling Motel, Wright’s poetry continues to surprise us with its frank appraisal of our soul, and with his own combustible loneliness and unstoppable joy.
- A guide to funky, retro, and off-the-beaten-path motels around the United States from the author of ROAD TRIP AMERICA.- Featured motels include one where the windows face a working drive-in theater, making your bed the best seat in the house, and another where each room is an individual teepee.- Learn the inspiring stories of owners maintaining impossible-to-duplicate motels in the face of cookie cutter chains.
In the second volume of the acclaimed "Gas, Food, Lodging" trilogy, authors John Jakle, Keith Sculle, and Jefferson Rogers take an informative, entertaining, and comprehensive look at the history of the motel. From the introduction of roadside tent camps and motor cabins in the 1910s to the wonderfully kitschy motels of the 1950s that line older roads and today's comfortable but anonymous chains that lure drivers off the interstate, Americans and their cars have found places to stay on their travels. Motels were more than just places to sleep, however. They were the places where many Americans saw their first color television, used their first coffee maker, and walked on their first shag carpet. Illustrated with more than 230 photographs, postcards, maps, and drawings, The Motel in America details the development of the motel as a commercial enterprise, its imaginative architectural expressions, and its evolution within the place-product-packaging concept along America's highways. As an integral part of America's landscape and culture, the motel finally receives the in-depth attention it deserves.
Franz Wright is at his best in this beautiful and startling collection. In these riveting poems, as he considers his mortality, the poet finds a new elation and clarity on the page, handing over for our examination the flawed yet kneeling-in-gratitude self he has become. Wright declares, “I’ve said all that / I had to say. / In writing. / I signed my name. / It’s death’s move.” F stands both for Franz, the poet-speaker who represents all of us on our baffling lifelong journeys, and for the alphabet, the utility and sometimes brutality of our symbols. (It may be, he jokes grimly, his “grade in life.”) From “Entries of the Cell,” the long central poem that details the loneliness of the single soul, to short narrative prose poems and traditional lyrics, Wright revels in the compensatory power of language, observing the daytime headlights following a hearse, or the wind, “blessing one by one the unlighted buds of the backbent peach tree’s unnoted return.”