Jim Minick is the author or editor of eight books, including Without Warning: The Tornado of Udall, Kansas (nonfiction), Fire Is Your Water (novel), and The Blueberry Years: A Memoir of Farm and Family. His work has appeared in many publications, including The New York Times, Poets & Writers, Oxford American, Artemis Journal, Orion, Shenandoah, Appalachian Journal, Wind, and The Sun. He serves as co-editor of Pine Mountain Sand & Gravel.
Minick’s honors include the Jean Ritchie Fellowship in Appalachian Writing and the Fred Chappell Fellowship at UNC-Greensboro. Minick has also won awards from the Southern Independent Booksellers Association, Southern Environmental Law Center, The Virginia College Bookstore Association, Appalachian Writers Association, Radford University, and elsewhere. His poem “I Dream a Bean” was picked by Claudia Emerson for permanent display at the Tysons Corner/Metrorail Station. He’s garnered grants from the Virginia Commission for the Arts, the Virginia Foundation for the Humanities, Augusta University, the Georgia Humanities Council, and the Virginia Center for the Creative Arts.
His newest book, The Intimacy of Spoons explores the many metaphors of the spoon: from love and marriage to the spoon of a grave that holds our bodies; from the darkness of loss and night, where “the Big Dipper is nothing but / the oldest spoon pointing us home”; to the darkness of lungs transformed into art. The poems cover a wide variety of topics—cultural, political, familial, and natural—and always, underlying these poems is the song of birds—with broken wings or clear voices, avian muses filling our forests now or long gone. There are nods to Basho and Thoreau, to Eliot and Frost, Dickinson and Milton, this last, a long poem that retells the story of Adam and Eve from the point of view of Mal, the apple. Likewise, The Intimacy of Spoons shares a variety of forms, from sonnet, sestina, and villanelle to syllabics, lyrics, and a ballad. At the center of the book is the long poem, “Elegy for My Body,” which uses wordplay and contrasting voices to explore mortality, because “You can’t really do time; / it simply does us, / or undoes us, / us beings in the time being being beings / on Times Squared / waiting for the big ball to fall.” The poems of The Intimacy of Spoons return us to everyday stories and objects, common yet profound.