Friday, August 31, 2012

Short Takes

THE INVISIBLES author Hugh Sheehy has a guest post over on Five Points (the blog). The Kenyon Review features both a story by Sheehy and an interview with him. "I have to keep working until there is a day when the story looks finished without my making any changes. Maybe then it is finished, but most likely not. These things take time, and it seems one must both remember this and learn it in a new way with each new big project." (Hugh Sheehy, Kenyon Review)

According to Donna Seaman for the Kansas City Star, Hugh Sheehy's THE INVISIBLES is "the beginning of what promises to be a brilliant writing career."

"[D]oes the faith of the president really matter?" The Washington Independent Review of Books reviews THE FAITHS OF THE POSTWAR PRESIDENTS by David L. Holmes.

COMPANION TO AN UNTOLD STORY author Marcia Aldrich reads selections from her new book in her recently released book trailer. Check it out below!


Coleman Hutchison's new book APPLES AND ASHES is "highly recommended" by Choice for being "the first volume devoted exclusively to [the] subject" of examining the literary history of the American Civil War.

Jeremy Vetter, of Environmental History, calls Albert G. Way's CONSERVING SOUTHERN LONGLEAF a "lively, readable book" that is "essential reading" for anyone "interested in changing models of land conservation and forestry during the twentieth century." He even describes Way's work as a "wonderful example of the insights that can be gained by situating the history of scientific knowledge production in its environmental context."

In a recent issue of Early American Literature, Gordon Sayre says of Thomas Hallock and Nancy Hoffmann's book WILLIAM BARTRAM, THE SEARCH FOR NATURE'S DESIGN, "Colleagues, cease for a moment your anxious complaints about the crisis in scholarly publishing, and bu and enjoy this book!" 

The American Book Review raves about Melinda Moustakis' debut collection, BEAR DOWN, BEAR NORTH: "Superbly crafted and trimmed to the nub. . . . Hope and truth shine through in this work, and it isn't the bleak, hard-white truth (the kind you'd expect to find in the hard white snow of Alaska) of the most minimal of minimalisms. It's a soft and human truth that overcomes the wild and the hard edge of the form she's chosen."