Archive for the 'Writing' Category

Rosebud 62

Issue62Rosebud 62 has arrived! There’s much to celebrate, beginning with Tai Taeoalii, the American/Samoan artist and filmmaker whose pop art surrealism graces the front and back cover as well as appearing generously throughout the issue. “These are deep waters, in which thought and feeling morph in mysterious ways,” writes Rosebud editor Rod Clark in his interview with the artist, whose work is both fanciful and nightmarish. Just like the five winning short stories in the magazine’s sixth biennial Mary Wollstonecraft Shelley Award for Imaginative Fiction. Taking first place and $1,000 is Patricia Lundy’s gothic horror tale, “Nova’s Burial Club.” Lundy will disturb your sleep with sentences like this: “I found her face down at the table, her hair dipping into the meat sauces.”

Readers of Rosebud 62 are also treated to the first two chapters from a new novel, James Joyce 1906-1907: The Ambiguity of Epiphanies, by Giuseppe Cafiero, and translated from the Italian by Simon Knight. A kind of noirish psychological study of Joyce and his work, the excerpt is narrated by a private detective hired by a publisher to shadow the modernist writer whose “incorrigible arrogance and effrontery” have given birth to stories that “dwell on matters not acceptable in polite society, possibly unlawful and certainly deserving of disapproval.”

Further rounding out issue 62: poems from Lyn Lifshin (“Remembering Later it’s the Anniversary of When My Mother and Father Eloped”), Lester Graves Lennon (“Uncle Scott”), and George Eastburn (“More than Ferlinghetti or Ginsberg”); writer and cartoonist P. S. Mueller’s apocalyptic meetup with God in “The Big Shiny” (“When God spoke, he really did sound like Orson Welles bellowing into a highly amplified public address system centered in a tiled men’s room the size of an airplane hangar”); and Mike Baron’s “Trail of the Loathsome Swine,” a scabrous Southern Gothic short story uniquely tailored for the Age of Trump (“Only time I ever had any truck with ’em animal rights people was in the sixth grade, they got permission to come to our school and try to frighten the bejesus out of us with pictures of slaughterhouses and chickens in cages and such”). Oh, there’s more. So much more.

Writers take note: Also included in Rosebud 62 are the guidelines for the ninth biennial X. J. Kennedy Award for Creative Nonfiction. Deadline for submissions is August 15, 2017. I’m pleased to say I’ll be co-judging this year’s contest entries with editor Rod Clark.

Rosebud 60

issue60Rosebud 60 (Fall/Winter 2015) is a beauty. There’s the joyous cover art by featured artist Toni Pawlowsky. Inside, for starters, you’ll find all five winning essays in Rosebud’s eighth biennial X. J. Kennedy Award for Nonfiction (which I had the pleasure of co-judging with editor Rod Clark): Grand Prize winner Chris Ellery (“A Boy of Bethany”), and runners-up Jennifer Arin (“Adrián de Sevilla”), Katherine Baker (“No Gas, No Soap in Cuba”), Joan Frank (“The Where of It”), and Brett Alan Sanders (“Attractions of Barbarity, or Dreaming a Complete Argentina”). The winning essays this year are international in scope with timely and thought-provoking visits to Jerusalem, Paris, Havana, and Buenos Aires.

There’s much more goodness to unpack in Rosebud 60, from poetry by Thomas Merton, Lawrence Ferlinghetti, and Thich Nhat Hanh, to the “medical science fiction” of Dr. Tatsuaki Ishiguro (“The Hope Shore Sea Squirt”). Even a graphic short story (“What Is” by Mort Castle) illustrated by Weshoyot Alvitre. And we’re still only scratching the surface. Regular features include top-of-their-game work from Rod Clark, P. S. Mueller, and Rick Geary. Guest art director Kathy Sherwood (filling in for Parnell Nelson, sidelined with health concerns, but returning for Rosebud 61) has given the magazine a sleek presentation.

Medium Cool

Screen Shot 2014-06-03 at 12.39.09 AM

I just posted a new short story of mine, “Recall,” to the website Medium. What I love about the site is the elegant simplicity of the page design, which makes for one of the very best environments I’ve seen for digital reading. The brainchild of Twitter’s co-founder, Evan Williams, Medium wants to do for long-form work what Twitter has done for focused brevity. Techcrunch.com has an excellent write-up on Medium from last fall.

[Update: Also worth checking out is David Carr’s May 25, 2014 New York Times column: “A Platform and Blogging Tool, Medium Charms Writers.”]

Rosebud 56

Rosebud56Rosebud 56 (Winter 2013/14) has arrived and it’s as strong an issue as editor Rod Clark has given us in twenty years of Rosebud goodness: From the vibrant nature-fueled Americana of featured Vermont artist Patricia LeBon Herb, to a selection of poetry from postwar Spanish writer José Ángel Valente newly translated by Thomas Christensen. Another must-read highlight is Rod’s Voice Over column, “Recuerdos: Guatamala 1976,” a harrowing first-person recounting of a notorious Latin American earthquake.

Film lovers will find a treasure trove in issue 56: “Shadows on a Screen,” a knowing coming-of-age short story by Thomas Fuchs, son of Hollywood screenwriter Daniel Fuchs (Criss Cross [1949]); Victor A. Walsh’s fascinating essay on Nellie Crawford (a.k.a. Madame Sul-Te-Wan), “Breaking the Color Barrier: Hollywood’s first African-American actress”; and Jack Lehman’s haunting “fictional autobiography,” “Orson Welles in Wisconsin.”

Also included are a pair of warm reminiscences of two iconic Wisconsin authors: Robert Zoschke’s “Norbert Blei (1935-2013): A writer with a capital ‘W,’” and Wisconsin State Journal columnist Doug Moe’s classic piece on Madison poet John Tuschen (1949-2005), “Poet is a Stranger in His Own Land.”

Believe me, I’m only scratching the surface of this issue (cf., P.S. Mueller’s illustrated exploration of Baby Boomer obsolescence, “Fader”; Rick Geary’s cheerfully sinister Afterwords comic, “My Home Town”). And, sure, let’s not forget to mention my short story, “Ty-D-Bol Blue,” which I’m delighted to see in print after first appearing online in last summer’s Cambridge Book Review.

Sauk City Halloween

Even on a rainy and foggy Halloween morning, it was a pleasure to drive 50 miles to Sauk City to deliver six cases of one of our Cambridge Book Review Press titles to the school district for an upcoming conference. Sauk City is the hometown of August Derleth, master of spooky stories and founder of the still active Arkham House Publishers. (Also after whom our son Augie is named.)

DerlethPlaque

Commemorative plaque on downtown Sauk City bridge spanning the Wisconsin River. (Click on photo to enlarge.)

Proposals for the Recovery of the Apparently Drowned

Proposals for the Recovery of the Apparently Drowned
Michael Sheehan
Colony Collapse Press 2012

Reviewed by Bob Wake

PrintThe four short stories that comprise Michael Sheehan’s Proposals for the Recovery of the Apparently Drowned are ambitious and often darkly amusing fictions that adroitly mesh genre-busting experimental writing and rock-solid literary instincts. While each story succeeds well enough on its own ingeniously devised terms, the title story is perhaps the strongest in the collection. Stripped of the hypertextual footnotes and pop culture references that function as metafictional ballast in the other stories collected here, “Proposals for the Recovery of the Apparently Drowned” is instead a tightly composed narrative about the mounting internalized horror of a woman plunged into a coma-like state of “conscious paralysis” after stumbling and falling outside of a New York dance club. Passages of dryly delivered historical documentation on “suspended animation” are woven directly into the text and add to the story’s powerful effect. Sheehan never pushes the existential metaphor of an unmoored and despairing Beckettian consciousness, allowing us to intimately share the protagonist’s dislocation:

Deep inside herself, willing her body limp and empty and motionless and withdrawing every bit of her true self inside, away, acutely aware of everything around her and through this awareness focused more and more on nothing but staying still, hidden.

sheehan_headshot

Michael Sheehan. Photo: Colony Collapse Press.

The final story, “September,” is the longest in the collection and its hilarious over-the-top self-indulgence is clearly intended as an homage to the influential writer for whom the story is dedicated: David Foster Wallace (1962-2008). Sheehan cleverly glosses aspects of Wallace’s Infinite Jest (the novel’s apocalyptic tennis court game of Eschaton—which also inspired the Decemberists’ video for their “Calamity Song”—becomes an epic round of Civilization in Sheehan’s story). More than mere parody, Sheehan’s “September” finds its own rhythms and drug-fueled conspiratorial compulsions, and the story’s final section (dated September 12, 2008, the date of Wallace’s death) is heartbreakingly beautiful as writing and as eulogy.

Because You Have To: A Writing Life

Because You Have To: A Writing Life
Joan Frank
University of Notre Dame Press 2012

Reviewed by Bob Wake

Joan Frank poses a stark riddle in Because You Have To: A Writing Life, her disarming and candid collection of literary essays. She asks, “What do you call a state of mind which anticipates its own recurring annihilation?” For many of us, whether writers or not, this is a chillingly accurate description of compromised serenity. “In usual fact,” Frank states, “few of us have the money to buy necessary pockets of stillness.”

The struggle to write becomes the struggle to wrest clear-headedness from the anxious bread-and-butter strivings and obligations that demand our attention throughout the day. As the author of three novels (most recently, Make It Stay), two short story collections, and an earlier volume of essays, Joan Frank is one of the clearest-headed writers working. Because You Have To shows us how she gets the work done. The roadblocks, sometimes self-imposed, are legion and Frank fearlessly exposes them:

I have long wished to dissect envy, in a naïve yearning to be rid of it. Writers like to peer at the forbidden, to tease out components of the monstrous; why not spotlight envy, turning it like mildew toward the noon sun to banish it? Heaven knows envy’s democratic enough; old and young, published and unpublished do their time on one or the other end of the strained congratulatory remarks, the sharp reconfigurations of the face. A writing teacher I admire once mused to a class: “Writers are some of the least charitable people there are.”

Acerbic insights are a hallmark of Frank’s fiction. Her essays are no less uncompromising. She shares with us her writer’s life of exhaustive day jobs and economic hardship. In an epochal election year when the widening chasm of class disparity haunts so many of us, her essay “Never Enough” has the righteous fire of an Occupy manifesto. Comprising 173 numbered paragraphs mixing autobiography and her own hard-boiled aphorisms on the themes of money and inequality in America, “Never Enough”—to put a price on it—is worth the cost of the book:

10. I disdained wealth, distrusted wealthy people. They seemed to prove my private theory: big money—though it gets things done—really, really fucks you up. Wealthy people wore a manner: the gleam of distaste in the eye, the lean-meat-and-white-wine body. I found them pitiful. I felt sorry for all they did not comprehend, for all the life they were missing.

There is also good-humored encouragement to be found in these essays. “For My Brothers and Sisters in the Rejection Business,” for example, offers Frank’s hilarious deconstruction of a form letter rejection. More to the point, she advises us not to fear the world turning its back on us: “Rejection, then, is like the wake of a boat: proof of motion. No action from the writer means no reaction from the world. To risk rejection is to risk reaction and, as such, a courageous step.”

Joan Frank

Threaded throughout Because You Have To are warm and sometimes conflicted reminiscences of her father, a humanities professor, whose death came too early from a heart attack at age 54. (“He was searching desperately, recklessly. As if liquor and sex were large, clumsy keys he kept fumbling with, trying to fit them into a stubborn lock.”) Her own marriage to a college English professor comes under similar laser-like scrutiny, although it appears her husband was granted vetting privileges over occasionally unflattering anecdotes and recounted arguments. (“He has read these words and raised no objection.”)

Frank unabashedly shares her vulnerabilities with us. A scene of the author trying to read uninterrupted at the kitchen table is pointed and funny but also captures the awful tension between solitude and companionship that makes marriage (and, Frank is suggesting, the art of writing) a precarious balancing act:

I am trying to read a short Sunday newspaper piece at the kitchen table. My husband also reads across the table, but he stops his reading to comment to me. I make acknowledging noises and smile and refocus on my page, hoping he will be drawn into the section before him. He speaks again. I make the same noises and resume the same sentence I am reading. We have so little time together I cannot bring myself to utter, “Sweetheart, please, I need to finish this.” Because if I had my way I would always need to finish something, always need to be alone. If I achieved that—and the option to live alone again is always available, after all—I could not bear it. I love my husband, my family. Therein, the paradox.

Authors and books are name-checked and quoted frequently in these 23 essays as if part of the air Joan Frank breathes. Her enthusiasms are infectious and readers may find themselves wanting to revisit or visit for the first time some of the writers that inspire her: Martin Amis, Charles Baxter, Sven Birkerts, Robert Bly, Raymond Chandler, Thaisa Frank, Bonnie Friedman, Gail Godwin, Shirley Hazzard, Anne Lamott, William Maxwell, Frank McCourt, Edna O’Brien, Katherine Anne Porter, and Jane Smiley, to name a few.

“I wrote these essays in the grip of them, as serial obsessions,” Frank writes in the Preface to Because You Have To. A serial obsession to read these essays and share them with friends is sure to grip lovers of literature and seekers of time well spent.

Every Love Story is a Ghost Story

Every Love Story is a Ghost Story
D.T. Max
Viking 2012

Reviewed by Bob Wake

D.T. Max’s solid biography of American writer David Foster Wallace (1962-2008), Every Love Story is a Ghost Story, portrays with emotional force Wallace’s successful struggle to stay sober for the better part of his adult life. From roughly 1989 up until his 2008 suicide (resulting from a recurrence of severe depression that plagued him on and off since his Midwestern adolescence), we learn that he worked a rigorous recovery program, attending regular support group meetings (even when on the road in unfamiliar cities), and befriending and helping fellow recovering addicts. The importance of sobriety to his life and work cannot be overstated. His career-making 1996 maximalist novel, Infinite Jest, can legitimately be considered The Great American AA Novel.

Wallace honored recovery group tenets by not divulging his personal involvement in one organization over another (and the biography never directly links him with any specific twelve-step program by name). Max quotes from a Newsweek interview in which Wallace was asked about Infinite Jest’s verisimilitude and insight regarding Alcoholics Anonymous and halfway-house living conditions. The author replied at the time:

I went with friends to an open AA meeting, and got addicted to them. It was completely riveting. I was never a member—I was a voyeur. When I ended up really liking it was when I let people there know this and they didn’t care.

Michael Pietsch, his editor at Little, Brown, recognized early on that the recovery material was the heart of Infinite Jest, what Pietsch called a “huge roiling story about addiction and recovery, their culture and language and characters, the hidden world that’s revealed when people come in and tell their stories.”

Less impressive to the editor was the novel’s “ornately bizarre-to-goofy superstructure” of dystopian Canadian terrorist cells and the hunt for a lethal video cartridge that induced addictive stupor and even death in those who watched it. The manuscript was cut and reshaped, a process during which Wallace devised his soon-to-be-iconic solution of off-loading some of the novel’s pile-up of political and cinematic arcana and narrative tangents into 100 pages of small-print endnotes, 388 in total.

Max situates the development of Wallace’s nascent writing style (a mixture of Thomas Pynchon’s digressive erudition with the experimental playfulness of Donald Barthelme) within the polarized scene of mid-1980s American literary fiction. When he enrolled in the University of Arizona MFA writing program in 1985, the “dirty realism” of minimalists like Raymond Carver, Jayne Anne Phillips and Richard Ford was in vogue. So was the bestselling “brat pack” fiction (defined by Max as “minimalism with attitude”) of Jay McInerney, Tama Janowitz and Bret Easton Ellis. Wallace found himself butting heads with writing professors who championed above all else “the well-made realist short story.” The dynamic with his teachers shifted, however, with the 1987 publication of his antic 500-page first novel, The Broom of the System. The book had been written as his undergraduate thesis at Amherst College before enrolling at Arizona. (Remarkably, he wrote two Amherst theses for a dual-degree. The second was in philosophy, published posthumously in 2010 as Fate, Time, and Language: An Essay on Free Will.)

Wallace would later disavow much of what he considered the metafictional games of his pre-Infinite Jest fiction. Some critics, like A.O. Scott in a perceptive 2000 NYRB piece titled “The Panic of Influence,” believed the writer was kidding himself. As Max summarizes it, Scott “emphasized Wallace’s anxious relationship with postmodernism and also his expectation he could have things both ways, pursuing the questionable tactic of writing cleverly to assert the superiority of sincerity in a world wedded to cleverness.”

The growing ranks of Infinite Jest fans felt otherwise, of course. More than a few flocked to sign up for classes taught by Wallace in the English department at Illinois State University, where he was employed when the 1,079-page novel was published to near-instantaneous notoriety:

Students had begun applying to the graduate program specifically to study with him. He was becoming a beacon for a kind of writing, not the postmodernism of the rest of the department and not the realism of Iowa and everywhere else, but a third approach, uncomfortable but sincere realism for a world that was no longer real. Making the head throb heartlike had the potential to become a literary movement. Different names were bruited for it, from the New Sincerity to Post-postmodernism. Occasionally one heard Grunge Fiction.

Every Love Story is a Ghost Story steers clear of hagiography by maintaining a thoroughly researched journalistic tone. The substance abuse, repeated suicide attempts and institutionalizations filling the first half of the biography make for harrowing reading, especially given that the scope and magnitude of some of this information is new.

Certainly the heretofore unreported womanizing documented in the book, with Wallace cavalierly sleeping with female students in the manner of Philip Roth’s Professor Kepesh in The Dying Animal, is far from flattering. His borderline stalking of married poet and future influential memoirist Mary Karr (The Liars’ Club), whom he met during the early stages of his halfway-house recovery in the Boston area, is disturbing and dark. If nothing else, we perhaps now have a little more context for judging novelist and friend Jonathan Franzen’s cryptic allusion (in a 2011 New Yorker essay) to Wallace’s brutish 1999 short story collection, Brief Interviews with Hideous Men:

I will pass over the question of diagnosis (it’s possible he was not simply depressive) and the question of how such a beautiful human being had come by such vividly intimate knowledge of the thoughts of hideous men.

The biography grew out of a well-received profile that Max wrote for The New Yorker in 2009. Wallace, it seems, was a compulsive letter writer, most notably to Franzen and the novelist Don DeLillo (a formative literary influence and someone from whom Wallace appears to have sought a good deal of working-writer advice, sometimes in dire desperation). Never a fan of the Internet—“He was wise enough,” writes Max, “to see a snare in it for an addict like himself”—he only began using email after 2000. Generous quotations from his correspondence with Franzen and DeLillo, his life-long agent Bonnie Nadell, and Little, Brown editor Michael Pietsch (whose posthumous assemblage of the author’s unfinished novel, The Pale King, was widely admired) add immeasurably to the portrait of Wallace and his writing process.

Fisherman’s Beach ebook goes live

Cover: Dan Parent. Photo: Thomas J. King.

CBR Press is proud to present this 50th Anniversary ebook edition of Fisherman’s Beach, the masterful debut novel by the late Wisconsin author and long-time Madison newspaper columnist and radio-host George Vukelich (1927-1995). Originally published in 1962 by St. Martin’s Press, Fisherman’s Beach charts the postwar struggles of a Catholic fishing clan in Two Rivers, Wisconsin headed by a dying patriarch, Old Man LeMere. Often at odds with his Irish wife, his five sons, not to mention his doctor and his priest, LeMere represents a tradition and moral force that seem to be breaking down around him. The enhanced 2012 ebook edition features a Foreword by Wisconsin State Journal columnist Doug Moe and photos of Two Rivers by photographer Thomas J. King. Bonus ebook supplements include biographical and critical essays on George Vukelich and Fisherman’s Beach by August Derleth and James P. Roberts. There are also discussion questions for book clubs and classrooms.

“I couldn’t be happier that on this, the 50th anniversary of the original publication of Fisherman’s Beach, Cambridge Book Review Press is bringing it to a new generation of readers.”—From the Foreword by Doug Moe, columnist for the Wisconsin State Journal, and author of Lords of the Ring: The Triumph and Tragedy of College Boxing’s Greatest Team.

“One of the best family novels of our time—not the family novel that moves from one generation to another … but the novel that is the portrait of the family seen at a time of crisis.”—August Derleth.

“This impressive first novel by George Vukelich has all the turbulence, surge, ebb and, sometimes, serenity of the great body of water which is its setting—Lake Michigan … Every character is as true as life.”—The Milwaukee Journal.

Make it Stay

Make it Stay
Joan Frank
The Permanent Press 2012

Reviewed by Bob Wake

Joan Frank’s Make it Stay is a brief novel, but it skimps on nothing under the sun, particularly the lush sun of Northern California where the story is set. This tale of aging Boomer marital discord is so thoroughly embedded within the sensuality of the natural world that it seems sprouted rather than written. In Frank’s lovingly rendered vineyard town of Mira Flores (“the fresh sharp smell of pines in the warm sun, the drifty morning fog, heavy sweetness of roses spilling over fences in Popsicle colors, faint salt scents of ocean”), impulsiveness and passion are as intuitive as the Pacific Coast tides forty miles away.

Impulses, like stories, are renewable resources that can turn destructive if we refuse their lessons. It seems appropriate that Rachel, the narrator of Make it Stay, is a writer. Whether or not this better equips her to deal with the serial adultery of her husband’s best friend is not so easily answered. “Why must this be the story, over and over and over,” she laments in italicized dismay. Rachel, we discover (somewhat to our discomfort as readers), is not so much an unreliable narrator as a recognizably flawed one overcome by self-doubt and jealousy. “Lord,” she confesses to us after making one of several breathtakingly cruel observations about others, “what an unkind thought.”

The first half of Make it Stay is a stylistic tour-de-force with chapters alternating between dinner-party preparations overseen by Rachel’s husband, Neil, a Scottish-born legal aid attorney and amateur gourmand, and the backstory of Neil’s friendship with the adulterous Mike and his alcoholic wife, Tilda, both due for dinner that evening. In Joan Frank’s energetic telling, this set-up becomes a page-turning psychedelic Wayback Machine as we’re transported to Mira Flores in the 1970s: Mike, a marine biology dropout, owns an aquarium shop in town called Finny Business; Neil, waiting to pass the California bar, interns two blocks away at the Legal Aid office. There are diving excursions to the Polynesian Islands in search of rare tropical fish for Mike’s shop. A near-drowning bonds their friendship for life.

The novel takes a decidedly darker turn in its second half. Joan Frank refuses to judge her characters even when her characters are quick to judge one another. Rachel’s wisdom, by novel’s end, is real and hard-won, but it is also world-weary and not necessarily built to last. Like the marriages splayed and dissected with such scalding precision in Make it Stay. Readers whose sympathies fall in one direction early on, may be surprised to find their hardened hearts reversing course as Frank skillfully and tough-mindedly overturns our expectations and rattles our complacency. Rachel’s writerly indignation is as up-to-date and CNN-ready as it is timeless and universal:

Crazy shit—and I don’t mean pissy little Jamesian drawing-room slights, but atrocity—bombards folks with no warning every day; decent, forthright, shoelace-tying folks. If they have shoelaces. Look at Neil’s clients; look at the news. Anything that’s functional, that’s actually been good for us? Passable health, freedom from pain? Something to eat, clean water? Nobody pull a weapon today?

When the phrase “make it stay” is finally spoken—haltingly, painfully—by one of the characters, it is a cri de coeur not of nostalgic longing but of something deeper, an animating force submerged and mysterious, seldom glimpsed, as elusive as the rarest tropical fish, but most assuredly captured in the pages of Joan Frank’s memorable novel.


Recall: A Short Story

Walden West and the Twilight of Transcendentalism

Weiskopfs Rising

eBook Single .99

Caffeine & Other Stories by Bob Wake

Order Caffeine to Go ($2.99 on Kindle)

Cloud Spew

"A Visit of Charity" 77 Square 2007 Man Booker Prize 2010 Wisconsin Book Festival 2016 Juniper Prize for Fiction 2666 Absalom Absalom! Adam Gopnik Adolf Hitler A Gate at the Stairs Ahtna Tribe Alan Cheuse Alan Greenspan Alcoholics Anonymous Alfred Hitchcock Alison Jones Chaim Alive in Joberg Allegheny Mountains Allison Fiutak All the News I Need Al Pacino Alpha the Moralist Although of Course You End Up Becoming Yourself American Boy American Players Theater Amy Lou Jenkins And If It Be Mean Andrew Rieger Andrzej Wajda An Evening in Spring An Inventory of Lost Things Anne Donnellan Anne Enright Anne Frank Anne Lamott Anne M. Donnellan Annette O'Toole Ann Morrison Ann Prayer Anthony Mann Anton Chekhov April Derleth (1954-2011) Arbor Vitae Arkham House Ashes and Diamonds Asperger's Syndrome A Theory of Lipstick At Home in the World A Tomb for Boris Davidovich August Derleth August McGinnity-Wake Autism Autism: Sensory-Movement Differences and Diversity Autism Asperger Publishing Company Avol's Bookstore B.J. Best Bad Axe Bangtail Press Barbara Buswell Barbara de Wilde Barbara Stanwyck Barry Levninson Battle of Stalingrad Baz Luhrmann Because You Have To: A Writing Life Bell Book and Candle Ben Armstrong's Strange Trip Home Ben Averill Benjamin Truman Bennett and Hastings Publishing Bernard Herrmann Bernard Schlink Big Bill Broonzy Bill of Lading Billy Strayhorn Birdman Birds of Wisconsin Blake Bailey Bob Dylan Bob Wake Bob Wake Goes on a Cruise Bon Iver Bonnie Friedman Both Ways is the Only Way I Want It Botteghe Oscure Bret Easton Ellis Brett Alan Sanders Brian Eno Brian Johnson Brief Interviews with Hideous Men Bruce Bodden Bruce Dethlefsen Buck Henry Burbank Caffeine & Other Stories Calamity Song Cambridge-Rockdale Wisconsin Cambridge Book Review Cambridge Book Review Press Cambridge Wisconsin Carol Quirk Cassandra Wilson Catch-22 Cathryn Cofell Cat People (1942) Cat People (1982) CBR Press Centennial Press Charles Baxter Charles Nevsimal Chelsea Cardinal Chicago Sun-Times China's ghost towns Chris Ellery Chris Hartsfield Chris Lott Christopher Nolan Citizen Kane Civil Rights Clark Street Rag Coleen Gray Coleman Colin Meloy Colony Collapse Press Common Ground Communist Poland Connie Lyle O'Brien Consultation Correcting the Landscape Cottonbound: An Audio Chapbook Council for Wisconsin Writers Cowfeather Press coyote mythology Criterion DVD Czeslaw Milosz D.T. Max Dale M. Kushner Daniel Berrigan Daniel Craig Daniel Fuchs Danilo Kiš Dan Parent Dark Card Darth Vader Dave & Phil Alvin David Allan Cates David Bowie David Carr David Foster Wallace David Hidalgo David Hill David Koch David Letterman David Lipsky David Mamet David Pitonyak Debbie Googe Deborah Eisenberg Deference Del's Supper Club Demilitarized Zone Denis Johnson Dennis Graham Associates Derek Almstead Derrick Harriell Detour DeWitt Bodeen DFW RIP Diana Krall Dierdre Luzwick Disability Studies Quarterly District 9 Dmitri Shostakovich Dorothy Malone Double Indemnity Doug Moe Dr. Tatsuaki Ishiguro draft resistance Driftless Area Duke Ellington Dwight Allen E. Pauline Johnson Eau Claire Wisconsin ebook ebooks Echoes economics econophysics Ed Begley Jr. Edenfred Edgar Allan Poe Edgar G. Ulmer Edge of Nowhere Edmund G. Bansak Edmund Goulding Edmund Wilson Edna O’Brien Edward G. Robinson Eighth String Quartet (Opus 110) Elegy Elf Power Elia Kazan Elie Wiesel Eli Roth Elizabeth Strout Elli Hazit Elmore Leonard Emily Dickinson Eric Harris Erik Richardson Ernest Hemingway Eschaton Ester Republic Press Eudora Welty Europe Central Evan Williams Every Love Story is a Ghost Story Every Natural Fact: Five Seasons of Open-Air Parenting Everything Ravaged Everything Burned F.J. Bergmann F. Scott Fitzgerald Fabu Facebook ads Fearing the Dark: The Val Lewton Career female jazz vocalists Film Noir Finishing Line Press Fireweed Press Fisherman's Beach Fisherman's Beach ebook Flight Patterns For No One Fox 8: A Story Frances Kroll Ring Francis Kroll Ring Frank McCourt François Truffaut Fred MacMurray Freedom Freedom of Information Act (FOIA) Freeman Walker From Shame to Sin: The Christian Transformation of Sexual Morality in Late Antiquity Future Islands Gail Godwin Gangnam Style Gay Davidson-Zielske Geoffrey Chaucer George Eastburn George Romero George Saunders George V. Higgins George Vukelich Gerald Fosdal Geri Schrab Gerrit Welmers Ghosts in the Library Giorgio Moroder Giuseppe Cafiero Given These Magics God/Seed: Poetry & Art About the Natural World Go Down Moses Golden Bloom Goldmine in the Sun Goodbye to Language Graphic Classics Gregory Peck Greta Gerwig Halloween Harold Pinter Harper's Harvard University Press Heinrich Böll Helen Walker Henri-Pierre Roché Herbert Lovett Hieronymus Bosch High Noon Saloon Hitchcock Holden Caulfield Holy Week horror short stories Houdini Pie How Cow Press Hunger in America Ian Fleming Ian Keith Ian Murphy Icarus Himself Ida Lupino If I Could Tell You Inception In Envy Country Infinite Jest Inglourious Basterds Ingmar Bergman Inherent Vice Inside Outside Morningside In the Aeroplane Over the Sea Irish literature J. Allen Kirsch J. D. Salinger Jacket Copy Jack Lehman Jack London Jack Nicholson Jacques Tourneur Jaimy Gordon James Avati James Bond James Brown James Dante James Ellroy James Joyce James P. Roberts James Roberts James Sedwards Jane Smiley Jason A. Smith Jason Epstein Jason Smith Jay McInerney Jayne Anne Phillips Jean-Luc Godard Jean-Luc Marion Jeff Bridges Jeff Mangum Jennifer Arin Jeremy Irons Jeri McCormick Jerzy Andrzejewski Jesus' Son Jet Airliner Jim McMunn Jimmy Hughes Jim Stevens Joan Bennett Joan Blondell Joan Frank Jodi Robledo Joel Weisman John Berryman John Cheever John Donne John Heard John Irving John Koethe John Lehman John O'Brien John Smelcer John Tuschen John Updike Jonathan Franzen Jonathan Regier Joseph Bruchac Joseph H. Lewis Josh Cohen José Ángel Valente Joyce Maynard Judge Judy Endow Jules and Jim Jules Furthman Junkie Nurse Justin Vernon Kamil Vojnar Kane County Illinois Republican Party Karla Huston Karl Elder Kate MacDonald Kate McGinnity Kate Winslat Kate Winslet Katherine Anne Porter Katherine Baker Kathy Kaebisch Kathy Sherwood Katjusa Cisar Katz Drug Store lunch-counter sit-in Keats Kenneth Slawenski Kim Garcia Kim Novak Kindle Kindle ebook Kloppenburg Korea Kristine Rusch Kurt Vonnegut Kyle Harper L. A. Times Laird Cregar Langston Hughes Larry Cyr Larry Watson Last Call Late Show with David Letterman Launchpad Laura Carter Lawrence Ferlinghetti Leapfrog Press Learning to Listen Ledgers of History Lee Garmes Lee Jing-Jing Lester Graves Lennon Lester Smith Lights! Camera! Autism! Lights! Camera! Autism! 2 Like a Cannonball Lillian Ross Linda Aschbrenner Linda Darnell Linda Lenzke Lindsay Lohan Lisa Ladson Lisa Pankratz literary contest Little Creek Press Little Eagle Press Local 311 Pipes & Drums Lon Chaney Jr. Lone Wolves Look at the Birdie Lord of Misrule Lorine Niedecker Lorna Stevens Lorrie Moore Love and Theft Lucas Bielijewski Lyn Lifshin Madame Sul-Te-Wan Madison Madison 3/10/11 Madison Magazine Madison Museum of Contemporary Art Madison Wisconsin Madison Wisconsin protests Mahlon Mitchell Maile Meloy Main Street Rag Main Street Rag Publishing Co. Make it Stay Making Lemonade: Hints for Autism's Helpers Malcolm Lowry Malcolm McDowell March 19 2011 Margaret Atwood Maria Rosa Lojo Marie Mundaca Marjorie Kowalski Cole Mark A. Nelson Marshall Cavendish Editions Martha Leary Martin Amis Martin Scorsese Martin Sisters Publishing Mary C. Schuh Matt Girard Matthew J. Bruccoli Max Garland Mayapple Press Medium Members of Each Other Men without Meaning Metamorphoses Michael Epstein Michael Kriesel Michael Lowry Michael Pietsch Michael Sheehan Middle English Mike Baron Milkweed Editions Mobius Modern Times Mom's Canoe Monroe Stahr Montana 1948 Mort Castle My Bloody Valentine My Life as a Terrorist: Uncovering my FBI file NAACP Nancy Jesse Nancy Zucker Nan Negri Nastassja Kinski National Book Award 2005 Native Alaska Native American Classics Native American folklore Neill Blomkamp Neil Young Neutral Milk Hotel Neutral Uke Hotel New York Times Nickolas Butler Nick Tosches Nick Whetro Nicole Eredics Nightmare Alley Night of the Living Dead Nikolay Middle School Noon Wine Norbert Blei Norma Gay Prewett North Country Notebook North Country Press Northwestern University Press Nothrop Frye Nutcracker Suite Oh Comely Olive Kitteridge online fiction Origins of FIS (Factory in a Suitcase) Orphan Orson Welles Oscar Swan Our Lives Ouroboros symbolism Ovid P.S. Mueller Painted Words: Aspects of Autism Translated Paradise Drive Parallel Press Parnell Nelson Passionate Nomads Patricia LeBon Herb Patricia Lundy Patty Berglund Paula Anderson Paula Kluth Paul Bowles Pauline Kael Paul McCartney Paul Michel Paul Schrader Paul Soglin Pencil Test Penelope Cruz Penguin paperback Peter Biskind Peter Yates Philip Roth Poetry Poetry Jumps Off the Shelf Polyester Popcorn Press Prairie du Sac Prairie Fire Poetry Quartet Press 53 Professional Fire Fighters of Wisconsin Proposals for the Recovery of the Apparently Drowned Psalms public housing Publishing: The Revolutionary Future Quentin Tarantino Quiet Nights Quiver Raging Bull (1980) Rain Man Ralph Murre Raw Deal Ray Bradbury Raymond Carver Raymond Chandler Rebecca Foust Rebecca Williams Recall Red Dragonfly Press Redshift: Greenstreem Return to Walden West Revolutionary Road Revolver Richard Ford Richard Katz Richard Quine Richard Roe Richard Sullivan Prize in Short Fiction Richard Widmark Richard Yates Rick Geary RKO Robert Bly Robert De Niro Robert Fripp Robert Mitchum Roberto Bolaño Robert Phillips Poetry Chapbook Prize Robert Zoschke Robin Chapman Rob Thomas Rock 'n' Roll Consciousness Rod Clark Rogers Street Fishing Village & Museum Rolling Stone Rosalyn Coleman Gilchrist Rosebud Rosebud 51 Rosebud 62 Rosebud Book Reviews Rosebud Magazine Royal Trux Ruben Varda Ruby Dee Rush Limbaugh Sac Prairie Sally Wolff-King Salman Rushdie Salvador Dali Sam Spiegel Samuel Beckett Samuel Herring Sarah Busse Satellite Collective Satellite Press saturated phenomena Sauk City Sauk City Wisconsin sci-fi science fiction Sean Connery Sebastian Barry Seoul Sharlto Copley Sharon Hammer Shawn Fogel Sheldon Roth Shirley Hazzard short stories short story Shoshauna Shy Shotgun Lovesongs Shrine of the Tooth Fairy siege of Leningrad Sietske van der Veen Signs and Wonders Simone Simon Simon Knight Singapore Six Gallery Press Slumdog Millionaire Sly in the Morning Somewhere Piano Sonic Youth Soviet Communism Spencer Walts Spiro Agnew Split Personality Spoke Spring Green Spring Green Wisconsin St. Martin's Press Stefan Szczuka Stephanie Bedford Stephen Greenblatt Stephen Hinkle Stephen King Steve Erickson Steve Miller Band Steven Salmon Steve Shelley Stranger in the Window suitcase nuclear reactor Summer of the Cinetherapist sunnyoutside Supermoon Susan Firer suspended animation Sven Birkerts SXSW Tai Taeoalii Tama Janowitz Tamar Jacobsohn Taxi Driver (1976) Tchaikovsky Tell-Tale Camera Telling Time Temple Grandin Tenth of December Texas Review Press Thaisa Frank the 99 percent The Atlantic Monthly The Bagheeta The Best Day The Big Combo The Big Lebowski The Birds The Blasters The Broom of the System The Burning Monk The Cabinet of Dr. Caligari The Call of the Wild The Cambridge News The Capital Times The Captive Mind The Catcher in the Rye The Cattle Thief The Comedy of Errors The Conditions of Love The Corrections The Crack-Up The Curious Case of Benjamin Button The Decemberists The Dream Songs The Dude The Dying Animal the eelgrass meadow The Frequency The Friends of Eddie Coyle The G.O.D. Club The Gathering The Gift of the Magi The Graduate The Great Death The Great Gatsby The Green Suit The Hazards of Love The Humbling The Hungry Dead The Last Tycoon The Love of the Last Tycoon: A Western The Macomber Affair The Magnificent Ambersons The Masturbator The Motion Sick The Mysterious Location of Kyrgyzstan The National Lampoon The New Yorker The New York Review of Books The Old Man and the Sea The Pale King The Pat Hobby Stories The Permanent Press The Perpetual Commotion of the Heart The Reader The Second Pass The Secret Scripture The Sheltering Sky The Shield of the Valiant The Short Happy Life of Francis Macomber The Silent Witness The Soft-Hearted Sioux The Taking Under The Tiger's Wedding The Trap The Typewriter Satyr The Village Poet The Wolf Man (1940) The Writer's Cave Thich Nhat Hanh Thomas Christensen Thomas Fuchs Thomas J. King Thomas Merton Thomas Pynchon Three Years from Upstate Thurston Moore Time Out of Mind Tim Jonze Timothy Truman Tim van der Meer Tim Ware Tippi Hedren Together Through Life Tom Connor's Gift Tom Pomplun Tom Sawyer Tracy Walczak Tree of Smoke Trimalchio: An Early Version of the Great Gatsby Twitter Two English Girls Two Rivers Wisconsin Ty-D-Bol Blue Tyrone Power UK Guardian Un Chien Andalou Under the Volcano Unexpected Shiny Things University of Massachusetts Press University of Notre Dame Press University of Wisconsin Press Until I Find You Up in the Air Ursula Le Guin UW Bookstore Hilldale Val Lewton Vampyr Verse Vera Farmiga Verse Wisconsin Vertigo Vicky Cristina Barcelona Victory Lap video technology Vietnam War Vote Kloppenburg for Wisconsin Supreme Court April 5 2011 W.E.B. Du Bois Wag the Dog Walden West Walk Awhile in My Autism Walter Berglund Weird Tales Wells Tower Wendy Vardaman Weshoyot Alvitre What's Up With Your Brother? What Did Jesus Do? Wiggle Room wiki for Infinite Jest Wikus van der Merwe Will Blythe William Cashion William Faulkner William Lindsay Gresham William Maxwell William T. Vollmann Wisconsin Wisconsin Book Festival Wisconsin labor protests Wisconsin literature Wisconsin People & Ideas Wisconsin poetry Wisconsin politics Wisconsin State Journal Wisconsin writing Writers from the Other Europe WTDY X.J. Kennedy Award X. J. Kennedy Award for Creative Nonfiction Yellow Sky Zbigniew Cybulski Zitkala-Ša Zora Neale Hurston