Tim Hunt

Books by Tim Hunt for the Backwaters Press

Fault Lines Fault Lines by Tim Hunt

Author: Tim Hunt
Format: Paperback, 102 pages
ISBN: 9781935218166
Published: December 2009

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Critical Praise for Fault Lines by Tim Hunt

The Heart of a Boy: James Reiss on Tim Hunt’s Fault Lines

In Fault Lines, Tim Hunt charts the plate tectonics of family history and Western landscape, revealing a kind of resilience displayed equally in both. In these beautiful poems, reminiscent of the best of Jeffers, Everson, and Snyder, Hunt’s unerring ear and eye bring to life a West we hardly knew we missed.
Michael Davidson

Tim Hunt is a poet of the American West, of the coastal mountains and the desert valleys. He is also a poet of the landscape of language, where the reader is surprised by luminous detail, sharp-edged memory. The beauty of this world is made more intense by knowing of the fractures underneath the surface, of the land, of speech, of habit, and family connection, threatening to jolt us into new perspectives, deeper recognitions.
Robert Morgan

The strength of Tim Hunt’s nature poems drew me into this book. His observation of light, rocks, a hawk and a field mouse in “High Desert Summer,” a California landscape, is so intense that he seems to long to become part of it. Then come the poems honoring and loving his family, whose history is made up of men and women “getting by,” “learning to make do,” acquiring “that tricky pride of the poor—the failing that is success.” Here is a poet standing on the threshold of existence, acutely aware of the humans, both living and dead, existing in the rooms behind him, but wanting, “other times,” the consolation of nature. His ambivalence is a strength and enrichment, not only for him, but for his fortunate readers.
Judith Hemschemeyer

In a four-part harmony of conceptual blends and metaphoric resonances that grid and bridge the subterranean spasms, leavings, and losses of generational memory, Tim Hunt’s elegiac speaker spellbinds a “wholeness of dislocations.” The “trick,” the voice discovers, is “to read what was” in what now exists in the long present of a lifetime, making language out of the silences and images out of the absences to recover invisibles that make the present make some sense. Fault Lines creates this subtle language of implication, humming a music of loss in the registers of blues, jazz, and rock ‘n’ roll—an “algebra” of fret and string that voices paths through the faults.
Lucia Cordell Getsi

Tim Hunt is a landscape artist, like his master, Robinson Jeffers. Unlike Jeffers, Hunt knows “the ache of so much space to fill with the human,” as he says in one of his best poems, “Stories.” He has learned a lot from Jeffers, a great poet of resonant inhuman spaces. But the humanity filling Hunt’s poems is all his own.
Mark Jarman

A winter’s drive almost anywhere reminds the reader of Hunt’s tender personification of trees which “have listened to the corn whispering” all summer in “Corn Field with Trees (Central Illinois),” but now “the bared branches interweave / against the light—like hands talking. / It is the sky’s turn to listen.”
• Elmae Passineau 

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