From The Land Of Sky Blue Waters

Coming-of-Age original fiction, set in the 1960s in the Coachella Valley, California, USA

Once Upon The Water is a series of adventures that take you fishing along with the author from Canada to Mexico with numerous stops closer to Mike Yurks home in the upper Mid West. But the adventures are more than travels to faraway places and catching fish. They are memories shared with friends and family that make them. There are recollections of fishing over the years with a cousin, taking Mikes 82 year old mother fishing, a tribute to the grandfather who taught Mike how to fish, and reminiscences of his father while fishing his fathers favorite trout stream. Adventures with his son and sons-in-law illustrate the special relationships formed and crazy antics occurring while fishing together. A lazy day of fishing on a hot summer day with Mikes wife evoke the joys of when the living is easy. There are fishing tales from Alabama in an email from England and a testimonial to a buddy who travels from Germany to fish in America. Join Mike and long time friends as they fish when it is twenty below zero on a winter day in northern Minnesota, a trip when they catch walleyes from a remote lake in Canada and on another adventure where they fish for smallmouth bass that are as big as footballs. Old bonds are rekindled with family and friends during an annual gathering where the champagne and memories flow. An old and new friend fish together in Key West and a new fishing buddy is found due to a chance encounter on the way to Mexico. Fishing is an adventure not because of where you are or what you catch but because of the people who share it with you. It all starts once upon the water.

Charles Eastman straddled two worlds in his life and writing. The author of Indian Boyhood was raised in the traditional way after the 1862 U.S.-Dakota War. His father later persuaded him to study Christianity and attend medical school. But when Eastman served as a government doctor during the Wounded Knee massacre, he became disillusioned about Americans' capacity to live up to their own ideals. While Eastman's contemporaries viewed him as "a great American and a true philosopher," Indian scholars have long dismissed Eastman's work as assimilationist. Now, for the first time, his philosophy as manifested in his writing is examined in detail. David Martinez explores Eastman's views on the U.S.-Dakota War, Dakota and Ojibwe relations, Dakota sacred history, and citizenship in the Progressive Era, claiming for him a long overdue place in America's intellectual pantheon.

Explores the ways American poetry engages with visual art, music, fiction, spirituality, and performance art Many people think of poetry as a hermetic art, as though poets wrote only about themselves or as if the subject of poetry were finally only poetry—its forms and traditions. Indeed much of what constitutes poetry in the lyric tradition depends on a stringently controlled point of view and aims for a timeless, intransitive utterance. Stephen Fredman’s study proposes a different perspective. American Poetry as Transactional Art explores a salient quality of much avant-garde American poetry that has so far lacked sustained treatment: namely, its role as a transactional art. Specifically Fredman describes this role as the ways it consistently engages in conversation, talk, correspondence, going beyond the scope of its own subjects and forms—its existential interactions with the outside world. Poetry operating in this vein draws together images, ideas, practices, rituals, and verbal techniques from around the globe, and across time—not to equate them, but to establish dialogue, to invite as many guests as possible to the World Party, which Robert Duncan has called the “symposium of the whole.” Fredman invites new readers into contemporary poetry by providing lucid and nuanced analyses of specific poems and specific interchanges between poets and their surroundings. He explores such topics as poetry’s transactions with spiritual traditions and practices over the course of the twentieth century; the impact of World War II on the poetry of Charles Olson and George Oppen; exchanges between poetry and other art forms including sculpture, performance art, and ambient music; the battle between poetry and prose in the early work of Paul Auster and in Lyn Hejinian’s My Life. The epilogue looks briefly at another crucial transactional occasion: teaching American poetry in the classroom in a way that demonstrates that it is at the center of the arts and at the heart of American culture.

This rollicking collection—personally selected by the author (in collaboration with his editor Tom Marksbury)—gathers the best of Ed McClanahan's work, making it a must–have for both long–time fans and newcomers alike. Comprised of fourteen works, I Just Hitched in from the Coast is an admixture of fiction and non–fiction, memoir and imagination. It includes such classics as "Fondelle, or: The Whore with a Heart of Gold," and the wry essay "The Day the Lampshades Breathed," chronicling McClanahan's time in the 1960s. In "The Essentials of Western Civilization," McClanahan imagines the affairs of Assistant Professor Harrison B. Eastep, MA, of Arbuckle State in Oregon, and of the gradual erosion of his dedication to academia. Weaving together Vietnam, rock and roll, a lackluster counterculture past, and the Great Plague of London, this is storytelling at its best by a master of the craft. The foremost stylist of the Yippie generation, McClanahan writes with bemused affection. He parlays his Southern sensibilities and California experiences with a mastery of language, to tantalize his readers with musings that are absurd, whimsical, outrageous, and, in the words of one reviewer, "wickedly sharp."

Former Merry Prankster Ed McClanahan assembles an irreverent and humorous collection of ''coming-of-age to coming-of-old-age'' stories. Enchanting readers with his signature prose, McClanahan details his eventful life in this mesmerizing fictionalized memoir.