Many clock repairers carry out excellent work but avoid cutting their own wheels and pinions, fearing it is too complicated and involved. This book, written by an experienced clock and tool maker, dispels those fears and gives a step-by-step guide to an extremely satisfying aspect of horology. This book is written for both the amateur and professional involved in the making and restoring of clocks, and for anyone who intends to start building up a workshop and requires a guide to the equipment and how to use it.
In this eloquent long poem, Claudia Emerson employs the voices of two family members on a small southern farm to examine the universal complexities of place, generation, memory, and identity. Alternating between the voices of Preacher and Sister, Pinion is narrated by the younger, surviving sister, Rose, in whose memory the now-gone family and farm vividly live on: “In the dream that recurs, like a bird returning, the place is still as it was—as though they went away, years ago, fully intending to be back by first dark.” Sister tells of her observances in day-to-day life in the 1920s and her struggle to take care of her father, grown brothers, and Rose—“the change-of-life baby”—after the death of her mother: “The hens had hidden their heads beneath / their wings; they blinded themselves as I dusted / the kneading bowl with flour sifted fine as silk, and so / I disappeared as I sank my fists into it.” Preacher feels keenly the burden of running the farm and fears being the last one to live on the place: “I was held fast there, pinioned, not / dying, growing numb and light, wait-crazed / and finally calm.” Both wrestle with a desire for independence and the duty to home they are bound to by birth; neither marries or leaves. Pinion is ultimately a wrenching elegy that Rose creates. She is the one who escaped, only to realize “I survive them all, but I find I have become the house they keep.”
