Category Archives: Books

JOE KINNISON’S IMPROV—THE WRITER AND ANGLER ON HIS NEW HOW-TO BOOK: ‘NEXT-LEVEL BASS FISHING’–FROM SKYHORSE ·

JOE KINNISON is on the hook for our latest interview, talking with SV’s Bob Shuman about getting started in bass fishing, enjoying the peace, beauty, and intellectual challenge of the sport, and sharing insights from the world’s top Bassmaster anglers:  Christiana Bradley, Tyler Carriere, Destin Demarion, Pam Martin-Wells, and Brandon Palaniuk. 

 

Joe Kinnison “sincerely promotes fishing for everyone.” His previous book is Oh’Fish-Al Innsbrook Fishing Guide, on fishing technique tailored to a lake resort community in Eastern Missouri. Joe is an officer in a St. Louis fishing club, and he has several bass tournament wins. He is also a member of the Missouri Writers Guild and the Southeastern Outdoor Press Association (SOEPA). 

 

What did you hook your first fish with—and what are your first memories of fishing?

When I was in primary school, my parents bought a small farm. The farm was all of the way at the end of a miles long gravel road. A small neighborhood organization took up a collection to maintain the road, along with a well that served water to the community. The well was a short walk up the road from our site, and a roughly two acre, kidney-bean-shaped pond was just downhill from the well on common ground. The pond was difficult to approach. It was surrounded by weeds and generally not well kept. Still, we decided to try fishing in the pond one summer day. After trampling enough weeds to get to the water’s edge, we baited hooks with bobbers and worms and started casting. In what seemed like no time, we were reeling in bass, many of which were good size, at least to a kid. Nearly every cast produced a fish, and I remember getting worn out, more than feeling that we’d caught all we could.

What kind of bait do you use today?

I use artificial baits today, and I change baits depending on the forage of the lake and the season of the year. I have had some of my best fishing days, in terms of volume, fishing a lipless crankbait. A lipless crankbait is a fairly heavy lure which is shaped like a fish. The fishing line ties to about the center of the fish’s back which makes the lure wiggle as it moves. A lipless crankbait can be cast a long distance, and the lure is retrieved at a regular rate. I use the lure to cover flats, which are large, shallow sections of lakes. I have had some of my most prolific fishing days dragging a lipless crankbait up the deep edge of a flat and long distances over the submerged surface of the flat. When the fish bite this moving lure, they tend to bite hard. The long length of fishing line from the long cast gives the hooked fish room run, and surge, and jump.

How has your technique changed over the years—and what crucial insight did you have about it?

When I moved to St. Louis, I started getting together with a small group of anglers. We jokingly called ourselves the Bassin’ Assassins. About once a month, we would travel to a group of ponds on a friend’s farm. We were not a very experienced group, but the ponds were seldom fished. These bass would bite almost anything. I started by throwing an inline spinner, which is really more of a trout lure than a bass lure. The bass bit it anyway. Since the ponds were a forgiving environment for an up-and-coming angler, I started experimenting. What I learned is that I preferred to fish slow, rather than just rip baits along a path and try for a reaction strike. I liked making the bait appear natural and move like a real crayfish or a worm. I later learned that this style of mimicking prey is called finesse fishing. Finesse fishing is the method I most prefer. It is slower, it gives a good feel for the fish, and being able to tempt a fish with what it believes is actual food is rewarding.

Why do you think people give up on fishing—and is there a way to keep them going with the sport?

I have met many people who like catching, but don’t necessarily like fishing. I think most people get excited to have a fish on the line. They get to steer the fish, reel it in, control it, and grab its lip. Although that’s the excitement of the sport, catching does not always happen. Moreover, sometimes when it does happen, the fish do not fight, or they are too small to be challenging. During most fishing trips, there is a period of time when the fish are not biting. Those are the times when most people give up on fishing, finding it boring. Those that stick with the sport seem to be the anglers that start seeking solutions when the fishing is idle. They start changing lures, alternating retrieve cadences, or switching colors. They start to notice changes in water color or wind direction or sun angle. Those that begin to understand the natural elements that impact the catching. These are the ones that keep going with the sport. I think the best way to learn the types of things that matter to fishing success is to spend time on the water with someone who loves fishing, not catching.

You interviewed five professional anglers, affiliated with Bassmaster for this book—were there any commonalities to their experience and stories?  Are most people who fish helpful to the newcomer?

Fishing is a welcoming community, especially to kids. In my experience, anglers are like golfers, in that they are happy to recount the elements that led up to their par, what club, what distance, what line, and so on.  For anglers, it may be what reels and cranks, what location, or what technique. While some anglers protect their secrets, most are quite open in sharing their experiences. As for the professionals, the most common element of their stories is that they each had a mentor. Be it a grandfather, brother, or family friend, each angler had a generous fishing enthusiast take them under their arm and give them experiences on the water. Although fishing is the second most popular outdoor sport, fishing can seem to be a small and not mainstream community. Really, it’s not. You just need to find a friend.

What does a fisherperson do during the off-season?

The off-season for professional fishing may not be what you think, the off-season is actually in the fall. Professional tours start as early as February, and the season ends in July. While that is the professional ranks, I make the point in my book that I am far from a professional caliber angler. For me, the off season is what you might expect, winter. I live in the Midwest, and I am not a big fan of cold. Some of my peers travel to Arkansas each year to fish for trout in the Ozark mountain streams. Personally, I like the heartiness and the fight of bass, so I stick with that type of fishing. I give my boat a good cleaning about Thanksgiving time, and I park it until the Easter season. I spend the winter reading and writing.

Please discuss the issue of releasing fish after they are caught. Why would or wouldn’t you do this—is it ever required?

Choosing to either keep or release a bass is a thorny issue, and there are passionate opinions on both sides. Large and smallmouth bass are not good eating fish. They are edible, but they would not be a first choice among diners. As such, keeping these fish for food is not the norm. For most of my fishing tenure, catch-and-release has been the preferred method. Recently, however, lake management views have been changing. Bass tend to be the apex predators in most lakes. With few adversaries, the fish tend to overpopulate. When a bass population gets too large, sufficient food is not present to support all of those fish. The fish tend to grow to approximately the same size and compete for what nourishment is available. These fish tend to thin. The industry calls such fish stunted. The bulk of the fish population of a lake can be unhealthy, starving. Some of the new thinking is that small bass should be removed from lakes and rivers to try to prevent the stunting problem. With small bass being particularly hard to prepare as food, the question becomes what to do with them. Dead fish are better used for garden fertilizer or even left on the bank to feed birds and raccoons. Some animal rights people believe that culling small fish is inhumane. Other animal rights people believe that starving a population of fish is inhumane. There are good arguments on both sides. I am a believer that catch-and-keep is the best policy.

What is fish body language and how does knowing about it help when fishing?

Even experienced anglers generally do not know that largemouth bass can change color. The fish have the ability to express the green and black pigments in their skin, or they can mask those pigments. It would not be unusual to catch really green-looking bass on one trip, and then catch really white-looking bass on another trip on the same lake. Coloration depends on how deep the bass are swimming and how much vegetation is in the water. Bass express their pigments when they are in the weeds. The green shades make them harder to find. The suppress their pigments when they are in deep or open water. More whiteness makes them harder to see by other fish looking from the bottom toward the surface. The pigment provides information to the angler. If you reel in a white-ish bass, it does not mean the animal is unhealthy. Instead, it means the animal came from a deep, suspended position to bite the lure. In that way, the coloration of the bass tells you at what depth the fish are feeding. This is valuable information for the angler.

How would this book have been written if you worked on it ten years ago—what has changed in the field?

I do not think this book could have been written a decade ago. Like many pursuits, fishing has undergone tremendous technological change in the last ten years. In that period of time, the industry has developed high resolution sonar equipment, invisible fishing lines, and previously unheard of lure presentations like umbrella rigs. Due to the improvements in the technology, most anglers have been focused on trying new gear. The new gear has been effective in improving catch rates, especially for offshore fish. As the technology has been assimilated, in my experience, questions remained unanswered. For example, if we both have all of the greatest gear, what makes an angler on the Bassmaster Elite tour different from me? In looking for that explanation, it became clear to me that soft skills separate anglers who already possess the latest technology. It really comes back to the human elements to determine success. Mentorship is a factor. It is also sensory skills, creativity, and organization that make the true difference.

What do you discuss in the book that isn’t typically covered in fishing books?

This may sound mundane, but one of the things that I discuss is how to get on the water. Some of the nation’s best fishing lakes are overwhelmingly large. It can be a difficult problem just to get started, and no one tells you that perspective. I point readers to where to launch their boat, where to get a guide, where to stay overnight, and where to grab dinner. Such practical things are often omitted in fishing books. Beyond the practical, few other fishing books will inform readers about things like sensory training and improvisation techniques.

How long does it take, on average, for someone to feel confident in fishing?

Getting confident in fishing can take a while. I cannot really identify a precise timetable, but I would say about five years will not be far off. As with any sport, some people have a natural gift for fishing. They may be particularly aware of nature or unusually observant. These folks usually start fast. For the fast starters as for the rest of us, eventually the angler will have an outing where they catch nothing. A reliable bait does not work or no fish reside in a confident “honey hole.” At these times, whatever confidence the beginning angler has fails. What restores confidence is going back out on the water and trying different lures, different techniques, and different locations until one finds and catches the fish. Having to adapt to different conditions and different quirks is what ultimately makes a successful angler. One would have to have experienced several shut-out situations before becoming assured that success could be achieved under most  fishing conditions.  Personally, going onto a lake knowing that I can effectively fish crankbaits, or spinnerbaits, or soft plastics, or swimbaits is what ultimately gave me confidence. That and being able to consistently out-fish my brother-in-law.

Do you honestly believe that both sensory training and improv training really make a difference to an angler?

Both of these disciplines sound “new agey,” and “fluffy,” as in not tangible. I refer people to a scientific study of a baseball team that employed sensory techniques. The results were measurable. In the book, I tried to translate some of the sensory training ideas to outdoors pursuits. I have tried these sensory exercises, and I believe that they have helped my fishing. My most memorable response to suggestions for sensory training was an angry one. A very experienced angler chastised me for trying to teach people what for him was just being “in the zone.” I guess he had some natural abilities, and he was upset that I was teaching people how to make the best of their lesser gifts. Improv is also a tentative conversation for most anglers. People seem to think that I’m trying to get them to try out for Second City Comedy or something of that ilk. No, I’m trying to provide permission and instill a process for experimentation. Sometimes just knowing it’s okay to cast a jig with a purple streamer or a crankbait with a worm weight ahead of it on the line is acceptable as long as it is purposeful.

You really make the sport sound approachable and fun.  How were you able to do that?

Two teachers in particular had an influence on my life. A high school English teacher was a fiend for economy of language. Second, a college professor once lowered a grade on a paper saying that I turned in ten pages because I did not have time to write eight pages. He wanted editing and economy. I brought those sentiments into my professional life, and I became a big advocate for clarity and simplicity. I believe that writing in that fashion makes most topics approachable.

Fishing can get really complex, and the industry is heavy on jargon. I have heard professional anglers take more than a full minute just to tell you the details of their rod, reel, line, and lure combination. I do not think it needs to be that complicated. One of the things that I really liked about the anglers that I worked with is that they too kept it simple. For example, one only used two lure colors, among the hundreds of choices. If the pros can reduce the options to two, so can weekend anglers.

Finally, fishing is fun. Something about the man versus beast situation is primal. Fishing is a rite of passage. Getting proficient at fishing is really just calling upon skills you use in other areas of your life and channeling them productively into this particular pursuit. Most people have the life skills that enable at least some measure of success at fishing. I am hoping to draw these out of people so that they enjoy the peace, beauty, majesty, and intellectual challenge of the sport as I do.

Thanks so much, Joe, for talking with Stage Voices.

View Next-Level Bass Fishing at AMAZON

Photo permissions (from top): Skyhorse; Joe Kinnison; Tyler Carriere 

(c) 2021 by Joe Kinnison (answers) and Bob Shuman (questions). All rights reserved.

PHYLLIS WHEELER SHINES A LIGHT ON HER TEEN NOVEL: ‘THE LONG SHADOW,’ FROM ELK LAKE PUBLISHING, INC. (INTERVIEW) ·

In her second interview for Stage Voices, Phyllis Wheeler talks race in America, during three different time periods; stranger danger and comfort zones; and walking a mile–in someone else’s shoes.

Author Phyllis Wheeler tells stories that encourage us to step outside our comfort zones. She’s done it—she and her husband spent twenty years raising their family in a black neighborhood in segregated St. Louis. She’s been a journalist, an engineer, and a homeschooling mom. Now she’s thrilled to be following her dream of becoming an author for young people. Find out more and get a free short story at phylliswheeler.com .

View The Long Shadow on Amazon

Visit Elk Lake Publishing, Inc.  

 

Photo by Arpit Mehta

Without giving too much away, tell us about your novel.

The Long Shadow is a racial reconciliation novel featuring time travel. Fourteen-year-old Richie, from white suburbia, thinks it is a good idea to run away from his guardian – until he finds himself whisked back 50 years, fighting to survive a freak storm, afraid to accept help from a black man.

As Morris mentors him in woodsman skills, a friendship develops. Richie wants to repay his life-debt to Morris and embarks on another trip in time, to 1923 in Missouri.  Can he prevent the lynching of Morris’s grandfather?

Why do you think The Long Shadow stands out in the youth market?

First of all, it’s on the topic of our times, racial reconciliation. Many people want to know more. Secondly, it faces a hitherto-taboo topic head-on. That topic is lynching. Our nation’s sad history of lynching and terrorism against Black people has been ignored or avoided in the past, but it’s high time we pulled it out and dealt with it, in my opinion. Thirdly, the book carries an emotional punch that’s unusual in middle grade fiction.

What seems to be important in writing for young readers (ages 10-14)?

  • Young people find role models when they read, so it’s important to have characters in your story readers want to emulate.
  • Personally I think a happy or mostly happy ending is important. Who wants to read a book and get depressed by it?
  • Beyond that, kids are looking for the same story elements as everyone else: relatable characters, strong plots that keep moving, a satisfying resolution.

All ages might notice your ability with structuring the novel, which takes place in three different times.  Why did you think you could make that work–and, for writers, how do you think and work with structure?

I worked with the basic three-act structure for starters, and then added a sub plot that has its own three act structure. I guess I thought I could make it work because I got positive responses from people who read the manuscript.

More details, if you are interested:

There’s a story setup in Act 1, present day. At the beginning of Act 2, Richie embarks on a journey to find independence, running off to the woods.  Richie eventually realizes he has been sent back fifty years somehow. Act 2 contains various setbacks and consequences as Richie, in the woods in 1969, interacts with a person of a different race, Morris, whom he fears. They begin to build a friendship.  Richie urges Morris to return to his family in town, but Morris has fears related to his grandfather’s lynching. And now the sub plot: Richie takes off for 1923 to try to prevent the lynching. That story contains three acts as well. After that sub plot finishes, we return to the main story, coming to resolution in 1969 and then the present day.

What kinds of research did the book involve?

I set the present-day sequences in Webster Groves, Missouri, the St. Louis suburb where I live, so researching that was easy. The 1969 sequences were mostly set in a wooded area of my state where my husband and I have spent a lot of time, near Farmington, Missouri.  And, in 1969, I was 17 years old. I remember it so clearly. So the part I had to research was 1923 in Columbia, Missouri. I dramatized an actual lynching, that of James T. Scott. This took several days of research in libraries in Columbia.

Now, Columbia happens to be the home of a big university: Mizzou, the University of Missouri.  This had two beneficial effects for me:

  • Grad students over the years analyzed the town history, including Jason Jindrich in 2002 researching how Black people lived in Columbia in the 1920s.
  • Mizzou journalism school student journalist Charles Nutter was present at the mob scene and wrote extensive eyewitness reports.

If the lynching had been in a different town, I wouldn’t have had these resources. I chose that lynching to base my story on not because of that, though. It was simply the most recent one in Missouri on record at the time I checked, and I needed a recent one in order to make the time line work.

The Long Shadow has characters of different races.  As a white writer, what are the traps and issues you faced not being limited by only working with your own race? 

Because I’ve had so many Black friends and neighbors, I think I can walk a mile in their shoes, but I really can’t, I have discovered. I learned to lean heavily on feedback from Black people who read my work. They point out where I am off, and I tear things up if needed and fix it. It’s a humbling experience.

As a homeschooling parent, in the past, what kinds of learning materials did you look for–and how would you envision The Long Shadow being used in homeschooling and schools?

When homeschooling, I looked for materials that I could hand my students and they could do on their own. So I am working on a homeschool “unit study” of at least 20 pages that will serve as a literature study, covering some Missouri history and geography, learning to write haiku, and more. I’m going to put it up on my website at PhyllisWheeler.com/the-long-shadow .

For regular schools, I also have some free classroom discussion questions available. This book should generate some deep discussions on the topic of racism.

What is racism? In my mind, it comes from fear. We are all wired for stranger danger. So we all need to be aware of the negative aspects of that and be willing to reach out, reach beyond our comfort zones.

What did you find yourself learning, as you wrote? 

I learned a lot about the sordid history of the treatment of Black people in Missouri. I was shocked to discover that after emancipation their settlements were sometimes relegated to edges of creeks, which flooded, and without proper sewers, so the water was contaminated.  This happened both in Columbia and in the St. Louis suburb where I live. Even in the nicer Black neighborhoods, there was no paving or street lights.

I also did some introspection about my feelings on the subject of race and racism. That was an eye opener too.

Because of its setting, are you finding Missouri is becoming key to your sales?  To what extent do you think this is a national or international book and why?

Local Missourians seem very interested in a racial reconciliation book, and it’s selling well here. But it’s also doing well online. I believe the book speaks to anyone who has experienced a segregated environment. That’s a lot of people! It’s not just a kids’ book. I am finding that adults are reading the book and recommending it to each other. The reconciliation theme can speak into our divided culture.

How do you think your personal experience prepared you to write this novel?

I lived as a child in Jim Crow Mississippi. There were laws about segregation. There were whites-only bathrooms and water fountains. The schools were separate. The only time I saw Black people was in a store—and in my home. My mother hired a maid to clean our house once a week. The maid lived in a row of shacks just a stone’s throw from our middle class house in a subdivision. Those shacks must have had no plumbing and just some kind of stove for heat. They were primitive. The contrast was so great in my young eyes.

As I grew up I lived in many places. In St. Louis I got married, and we decided to raise our family in a Black neighborhood. We had some wonderful, welcoming neighbors who showed us the warm heart of the Black community, which most white people in St. Louis never see.

View The Long Shadow on Amazon

More about The Long Shadow:

Part survival story, part exploration of racial justice in America, part journey of self-discovery, and wholly engaging and memorable. A well done and powerful story. It is certainly stuck in my head.—Joe Corbett, school librarian, St. Louis

I loved this book. I could not stop reading it once I had begun. It is a delightful story, as well as a very painful one, told very well without a wasted word. I gladly recommend it to anyone. —Jerram Barrs, professor at Covenant Theological Seminary and author of Echoes of Eden: Reflections on Christianity, Literature, and the Arts

I’ve read this book and enjoyed the characters in the story. I like the friendship that blossomed in the story and how the story came full circle in the end. It was a good history lesson without being offensive to anyone.—LaShaunda Hoffman, sensitivity reader and author

Searching for a new favorite book? Look no further than The Long Shadow by Phyllis Wheeler. Richie grabs your attention and doesn’t let go until the very end.—Elsie G, age 13.

Aunt Trudy never wanted kids. Now that she’s Richie’s guardian, she makes his life miserable. Richie just wants to escape, so he seeks refuge in the deep Missouri woods he loves so much.

Suddenly it’s not summer, but late fall. How did that happen? Did the trucker who just gave him a ride somehow whisk him back fifty years in time?

The woods aren’t for Richie the haven they used to be. After a freak storm, he finds himself at the mercy of Morris, a mysterious black man who also calls the woods home. Is Morris a savior? Or someone to fear?

 

TOP 10 BOOKS ABOUT BALLET ·

(Erin Kelley’s article appeared in the Guardian, 5/26; Photo: The Bolshoi ballet premieres its production Krakatuk in Moscow in January 2020. Photograph: Vyacheslav Prokofyev/Tass.)

From Noel Streatfeild to David Hallberg, this is a literature of passion and madness, ambition and addiction

Two things that make us human are art and sport, and ballet is where those two things converge. When I was writing Watch Her Fall, a thriller about two rival ballerinas, I began with the basics: textbooks to learn the technical stuff; the big biographies. I was greedy for the ballerina’s routine, the rhythm of her day, the shape of her childhood.

More fascinating than the huge physical demands was the ballerina’s psychological steel. She must be tough enough to dance on bleeding toes and survive rejection and rivalry yet remain able to access vulnerability when she performs. The career is a time bomb, with few principals dancing beyond their 30s, and one wrong step can destroy everything. I read stories of passion and madness, ambition and addiction, heartland territory for a psychological thriller. The following are some of the best.

  1. Ballerina by Deirdre Kelly
    This is a comprehensive history of the ballet from its origins in the French courts, when the positions were more etiquette than art, and dancers were as much courtesans as artists. The book’s subtitle is Sex, Scandal, and Suffering Behind the Symbol of Perfection, and Kelly expertly blends juicy gossip with an almost academic look at the contradictions of the ballerina: idealised, stylised, sexy but virginal, in constant pain but always, always poised.
  2. Ballet Shoes by Noel Streatfeild
    This 1936 classic remains a touchstone for balletomane children. Orphans Pauline, Petrova and Posy Fossil are adopted by eccentric Great Uncle Matthew; when the money runs out, they take to the stage to pay the bills. I believe the book’s endurance is down to its depictions of adolescence as much as the dance detail. The characters are complicated, enviable, flawed. Pretty Pauline’s temper tantrum is one of the best meltdowns in any literature, and results in one of the most relatable comeuppances. The writing is suffused with a teenage sensuousness: costumier’s fabrics such as organza and taffeta seem to caress the reader’s skin as well as the characters’.
  3. Astonish Me by Maggie Shipstead
    There are surprisingly few adult novels about ballet, but this exquisitely written book sets the bar. It takes its title from legendary New York City Ballet choreographer George Balanchine’s command to his dancers, and his ghost is on every page. Joan, a young American dancer, helps Russian ballet star Arslan Ruskov defect from the USSR, then stages a defection of her own, to the Californian suburbs, to teach and raise a family. The book is as powerful on the sacrifices of motherhood as it is when evoking the heady atmosphere of 1970s Manhattan. But her son’s prodigious talent becomes impossible to ignore. She is pulled back to the east coast, and Arslan, with shattering results.

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HOW ACT UP CHANGED AMERICA ·

(Michael Specter’s article appeared in The New Yorkers, 7/7; Photo: In 1988, protesters laid siege to the F.D.A. for a day, one of many interventions designed to capture public attention.Photograph by Catherine McGann / Getty.)

The defiant group of AIDS activists was itself riven by discord. What can the movement’s legacy, of both ferocity and fragility, teach us?

One day in June, 1990, at the height of the aids epidemic, I sat in the auditorium of San Francisco’s Moscone Center and watched as hundreds of activists pelted Louis W. Sullivan, the Secretary of Health and Human Services, with condoms. Sullivan had been attempting to deliver the closing address at the 6th International aids Conference. The protesters, from the aids Coalition to Unleash Power, or act up, were there to stop him. Shouts of “shame, shame, shame” were accompanied by whistles and air horns. Like many people who were in the audience that day—I was there as a Washington Post reporter—I remember everything about the speech except what Sullivan said. Which was exactly what act up wanted. The group had been formed to force a negligent government to take aids seriously. Not every federal official came under attack that day. Just an hour earlier, Anthony S. Fauci, the country’s chief aids scientist, had received a standing ovation after he essentially endorsed the protesters’ agenda, warning his colleagues that they “cannot and should not dismiss activists merely on the basis of the fact that they are not trained scientists.”

It was a triumphant moment for act up, which had become known for its outrageous stunts. Behind what seemed like radical unity, however, the organization had already begun to split into two distinct camps. One believed that the best way to advance the cause was to continue to protest—loudly. The other did not reject public actions but didn’t focus on them; it was known as the Science Club, and had formed a kind of academy within act up.

In “Let the Record Show: A Political History of act up New York, 1987-1993” (Farrar, Straus & Giroux), Sarah Schulman, a novelist, journalist, and activist, chronicles the early years of a vigorously oppositional group that was itself riven by discord and factionalism. Any history of a movement presents an argument about its identity—about which internal tendencies most faithfully represent its mission and which betray it. Schulman has strong views on this subject. On one point, though, there can be little disagreement. When act up began, its founders could not have guessed how high the group would soar; they would have been even more surprised by the particular conflicts that brought it down to earth.

By the time act up was born, in 1987, tens of thousands of Americans—mostly gay men—had died of aids, and more were dying every day, even as the government remained largely indifferent. Early that March, Larry Kramer, the writer and activist who had helped found the Gay Men’s Health Crisis, delivered a speech at New York’s Lesbian and Gay Community Services Center, on West Thirteenth Street. “O.K., I want this half of the room to stand up,’’ he later recalled saying. “I looked around at those kids and I said to the people standing up, ‘You are all going to be dead in five years. Every one of you fuckers.’ I was livid. I said, ‘How about doing something about it? Why just line up for the cattle cars?’ ”

The aids Coalition to Unleash Power was formed two days later. Its members met at the Center on Monday nights. They came to plan actions and to socialize but also to get answers. More than anything, it was a safe place for people who had nowhere else to turn. They were, Schulman writes, “a despised group of people, with no rights, facing a terminal disease for which there were no treatments. Abandoned by their families, government, and society.” The New York membership expanded from an initial hardcore cadre of several dozen to several thousand, including many people who were neither infected with H.I.V. nor at much risk of becoming so. Although plenty of other cities started their own chapters, act up ny was always at the center of the movement.

act up members lived by a creed set out by Ann Northrop, one of the organization’s more media-savvy leaders: “Actions are always, always, always planned to be dramatic enough to capture public attention.’’ The activists delivered. They wrapped the home of the North Carolina senator Jesse Helms in a giant yellow condom; invaded St. Patrick’s Cathedral during Mass; laid siege to the Food and Drug Administration (“Hey, hey, F.D.A., how many people have you killed today?”); and dumped the ashes of comrades who had died of aids on the White House lawn. These and many other high-profile interventions raised awareness about aids. But the group’s most important accomplishments were not as easily captured in headlines. Because so many people with aids were forced to live on the streets, act up members founded a philanthropy that evolved into Housing Works, which directed resources (including money raised by a chain of thrift shops) toward aids services and homelessness. act up helped establish the first successful needle-exchange programs in New York City. It also took on insurance practices like the exclusion of single men who lived in predominantly gay neighborhoods.

Nothing the organization did had a more lasting impact, however, than the work of the Science Club, whose members served on act up’s Treatment and Data Committee. They would congregate each week at the East Village apartment of Mark Harrington, who, though he had no formal scientific training, eventually won a MacArthur “genius” grant for his work on aids. Harrington, a wiry man with reddish-blond hair, seemed both constantly in motion and unusually deliberate. As Schulman recounts, the gatherings in his apartment were like a “doctor’s weekly rounds,” where attendees discussed a particular problem and “assigned themselves immunology and virology textbooks.’’

Harrington was hardly averse to public demonstrations: he helped organize act up’s “Seize Control of the F.D.A.” protest, in 1988, and its “Storm the N.I.H.” event, in 1990. But he believed that anger had to be allied with expertise. He and other members of the Science Club came to know the arcane rules and the impenetrable bureaucracy of the F.D.A. better than most of the officials who worked there. They prepared a detailed assessment of N.I.H.-sponsored clinical trials, and argued that people facing almost certain death should have access to experimental drugs that had been shown to be reasonably safe, even if they had not yet demonstrated efficacy. By 1990, the F.D.A. had adopted this approach (known as the “parallel track”), which would make selected drugs available to H.I.V.-positive patients. The slogan “Drugs Into Bodies” moved from placards to policy: act up had forced a fundamental change in the way clinical trials are conducted in the United States. Today, drug candidates for life-threatening conditions are frequently put on a parallel track for “expanded access.”

Eventually, in what Schulman refers to as act up’s period of “distress and desperation,’’ the Science Club broke away from the organization, and, led by Harrington, it formed the Treatment Action Group, to focus on accelerating the pace of research. Although the tag defection involved fewer than two dozen people, it was a painful divorce, with unexpected repercussions. act up’s ferocity concealed a genuine fragility. The group fearlessly hurled itself against the medical bureaucracy, the Catholic Church, even the White House; what proved much harder to weather was its own crisis of identity.

Although “Let the Record Show” bills itself as a history, Schulman maintains that “a chronological history would be impossible and inaccurate.” She does hope to offer contemporary activists “general principles and takeaway ideas,” but her book is best approached as a sort of modified oral history, a curated archive of nearly two hundred interviews conducted over the course of two decades. One can open this seven-hundred-page book at random and find something interesting to read: a mini-biography, firsthand recollections of major events, contentious perspectives on the goals of different groups within act up. (The interviews—which Schulman did along with the filmmaker Jim Hubbard—are available online, as the act up Oral History Project.) Schulman draws, too, on her five years as an act up member, but largely eschews other people’s research, and the book provides scant interstitial narrative; some readers may struggle to put these passages into context. Still, her labors will provide an invaluable resource for the social history of the movement that remains to be written.

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BEST BOOKS FOR SUMMER ·

(Photo credit REMY GABALDA/AFP/Getty Images)

Great reads for summer 2021, represented by Marit Literary Agency:

REAGAN’S COWBOYS: INSIDE THE 1984 REELECTION CAMPAIGN’S SECRET OPERATION AGAINST GERALDINE FERRARO 

by John B. Roberts II

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Reagan’s Cowboys is something of a memoir of Robert’s career with the 40th president, and as such, it’s a time machine back to the days of typewriters, hard-line telephones, and Marlboro cigarettes…be grateful to Roberts for giving us history as it actually happened, uncensored and un-politically corrected. …Roberts gives us glimpses of a huge cast of characters in Reaganworld”―Breitbart

When rumors about Geraldine Ferraro–the first woman vice-presidential nominee by a major party in U.S history–reached First Lady Nancy Reagan during the 1984 presidential election, a secret operation was launched to investigate her. It revealed Ferraro’s ties to organized crime and the extent to which she would have been subject to pressure or blackmail by the Mafia if elected. Written by an insider responsible for running the investigation, this never-before-told story goes behind the scenes as an incumbent president’s campaign works to expose a political opponent’s mob connections. Part detective story, part political thriller, the narrative features all the major players in the Reagan White House and 1984 reelection committee, with revealing anecdotes about Ronald and Nancy Reagan.

THE SHERIFF 

by Robert Dwyer & Austin Wright

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Sheriff John Donovan is fighting to maintain his grip on Three Chop, Texas, the town he built and has ruled with an iron fist for twenty years. But as the twentieth century looms, Donovan faces a host of new challenges: powerful business interests, religious schism, and the budding women’s rights and Prohibition movements. As he navigates these changing times, making friends of enemies and enemies of friends, a twist of fate brings to Three Chop a gang of fearsome outlaws looking to wrest new riches and settle old scores. How else could such a struggle end but with bloodshed? A final showdown forces the residents of Three Chops to take sides, to choose between the town’s past and future.

Called “one of those rare modern Western fiction classics” by New York Times best-selling author Jeff GuinnThe Sheriff pays loving homage to the Western genre while brilliantly puncturing the myths of the Old West.

FIELD OF BLOOD: A GRIPPING MODERN WESTERN SET ON THE USA’S SOUTHERN BORDER

by Wayne Allensworth

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A modern Western…

In a small Texas town, the fallout from a globalized world tests the boundaries of loyalty and identity and the deepest attachments of the human heart. Parmer, Texas is a casualty of a clash of cultures and peoples, as the Mexican drug war opens a front in a town that has sent its men to far-flung battlefields. The town’s veterans, “the soldiers”, face a fight for the very existence of the place they call home, while the fate of one man may determine the future of Parmer and the fates of the soldiers themselves.

Field of Blood confronts the human tragedy playing out on America’s southern border.

“Wayne Allensworth provides a powerful and moving meditation on American modernity – part gritty action yarn, part compassionating polemic, part evisceration of spiritual emptiness. Across his grand, boldly-coloured, tragic landscapes, confused prisoners of circumstances kill or are killed, while republics and civilisations bleed in and out of each other, and everyone and everywhere are compromised” Derek Turner, author of Sea Changes

“This is a true, and terribly beautiful, novel by an artist of considerable ability. Wayne Allensworth has written a fine novel worthy of comparison with some of the best American works of fiction in recent times.. . .” Chronicles Magazine

Wayne Allensworth worked as an analyst for the Foreign Broadcast Information Service from 1991 to 2002. He is the author of The Russian Question: Nationalism, Modernisation and Post-Communist Russia. He lives in Keller, Texas.

EVENINGS WITH CARY GRANT: RECOLLECTIONS IN HIS OWN WORDS AND BY THOSE WHO KNEW HIM BEST 

by Nancy Nelson

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Charming, witty, effortlessly debonair, and elegant, Cary Grant was the ultimate leading man, a silver screen icon who seemed to embody all that a movie star should be. But beneath the glamour was a real and complicated man–a surprisingly vulnerable, unabashedly romantic, and often exacting perfectionist, who rose above a traumatic childhood and failed marriages to become an incomparable Hollywood legend. In this sublimely truthful and candid portrait biographer Nancy Nelson draws on interviews with Grant, as well as material from his personal papers, along with loving revelatory reminiscences from some of his closest friends and loved ones, including Katharine Hepburn, Gregory Peck, Audrey Hepburn, Elizabeth Taylor, Sophia Loren, Quincy Jones, James Stewart, and many more to reveal the vaudevillian, actor, lover, and father. With a treasury of both well-loved and rarely seen photographs–and a foreword by Grant’s wife Barbara and daughter, Jennifer–this is the definitive biography of one of the screen’s greatest stars

THE LONG SHADOW 

by Phyllis Wheeler

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Anti-prejudice, anti-racist middle grade Christian fiction: The Long Shadow by Phyllis Wheeler (ranked #1 new release Teen & Young Adult Christian Social Issue Fiction (6/8/21 ranked #1 new release Teen & Young Adult Christian Social Issue Fiction; #3 on Amazon, regarding Children’s books about Prejudice and Racism; #18 in Children’s Self-Esteem and Self-Respect books; #1  (6/4/2021)

Aunt Trudy never wanted kids. Now that she’s Richie’s guardian, she makes his life miserable. Richie just wants to escape, so he seeks refuge in the deep Missouri woods he loves so much.

Suddenly it’s not summer, but late fall. How did that happen? Did the trucker who just gave him a ride somehow whisk him back fifty years in time?

The woods aren’t for Richie the haven they used to be. After a freak storm, he finds himself at the mercy of Morris, a mysterious black man who also calls the woods home. Is Morris a savior? Or someone to fear?

“Searching for a new favorite book? Look no further than The Long Shadow by Phyllis Wheeler. This is a great book for fans of To Kill a Mockingbird but with a time-travel twist. Richie grabs your attention and doesn’t let go until the very end.”—Elsie G, age 13. 

“Sometimes we need to escape our own time and place to walk a few miles in someone else’s shoes. Phyllis Wheeler’s The Long Shadow will open your eyes, rend your heart, and take you on an invaluable journey.” —Wayne Thomas Batson, bestselling author of The Door Within Trilogy.

“Heartwarming and heartbreaking, Richie’s story is a shining example of how taking a chance on unlikely friendships is the best way to break down the barriers we build.” —Jill Williamson, award-winning author of the Blood of Kings trilogy.

“A powerful message wrapped in a page-turner.” — Cherie Postill, author, speaker, and mentor for teens at the St. Louis Writers Guild. 

“I’ve read this book and enjoyed the characters in the story. I like the friendship that blossomed in the story and how the story came full circle in the end. It was a good history lesson without being offensive to anyone.”—LaShaunda Hoffman, sensitivity reader and author. 

“Part survival story, part exploration of racial justice in America, part journey of self-discovery, and wholly engaging and memorable.  A well done and powerful story.  It is certainly stuck in my head.”—Joe Corbett, school librarian, St. Louis.

 

SOUTH AFRICA–DAVID LAN: IN THE AGE OF APARTHEID, THEATRE RESISTED ·

(Lan’s article appeared in the Guardian 5/26; Photo: Then, as now, theatre was in every sense political’ …David Lan. Photograph: Linda Nylind/The Guardian.)

The theatre director and writer looks back at the spirit of protest that fuelled daring dramas staged in South Africa 50 years ago

I grew up in South Africa during the bleak, violent, seemingly never-ending iron age of apartheid. In 1971, when I was studying acting at Cape Town University, the National Party government built a monolithic 1,500-seat theatre complex in a commanding position near the centre of the city. The Afrikaner Nationalists had an easy rule of thumb by which to distinguish between the value of white people and black people – we have culture and they don’t. The purpose of the monolith, with its elaborate stairways, fancy colonnades and picture windows, was to declare and celebrate this belief. White musicians, actors and dancers were to perform to exclusively white audiences.

Afrikaans theatre was bursting with contradictions. The finest Afrikaans playwright was William Shakespeare. From the 1950s to the 70s, Afrikaans-language productions of the European modernists – Pirandello, Maeterlinck, Strindberg and especially Chekhov – toured to church halls all over the country. Uncle Vanya was a quintessential Afrikaans cultural experience.

Then, as now once again in the UK, the making of theatre was in every sense political. Every aspect was resonant and meaningful – how it was staged, where, by whom, for whom and, if it was subsidised, with what intention and to whose advantage. In the case of these tours to ultra-conservative farming towns of high-water mark creations of the liberal imagination, the state endorsed them and paid for them.

Of the productions scheduled for the new theatre’s opening, a play by the South African Bartho Smit, was banned by the official censor before it even went into rehearsal. The highlight was to be Koning Lear. The theatre’s artistic director, from a distinguished Afrikaans family, had been excited by productions he’d recently seen in Europe. He invited the German Dieter Reible to direct.

Lear was played by Cobus Rossouw, the beloved leading Afrikaans actor of his generation. My memory was that Edgar was played by a black actor. However, checking the cast list, I find the part was played by a white actor – in fact one who had only recently graduated from my own drama school. He certainly intended to convey that Edgar was a black South African. This, together with the bold, expressionist style of the production, was the cause of an ensuing scandal. Did he actually play the part in blackface? It’s unlikely but not impossible. Was he dressed in some version of royal Zulu or Xhosa apparel? No doubt someone will write in and let me know.

When Lear divided his kingdom among his daughters, it was made clear that each was being allocated an apartheid-style “black homeland”, one in the eye for the government’s divide-and-rule politics. In the last scene, with Lear lying dead on the war-torn stage, “black” Edgar climbed with dignity to the top of a revolving staircase – or was it Table Mountain or a giant anthill? The oppressive state had been violently destroyed and he was at long last entering into his kingdom.

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DRAMA BOOK SHOP, BACKED BY LIN-MANUEL MIRANDA, TO OPEN IN JUNE ·

(Michael Paulson’s article appeared in The New York Times, 5/19; via Pam Green; Photo:  The Drama Book Shop, in a former location. When it reopens next month, it will also have a cafe.Credit…Richard Perry/The New York Times.)

The quirky bookstore, which sells scripts and other theater-related work, was acquired by a team of “Hamilton” alumni after years of struggle.

The Drama Book Shop, a quirky 104-year-old Manhattan specialty store that has long been a haven for aspiring artists as well as a purveyor of scripts, will reopen next month with a new location, a new look, and a new team of starry owners.

Those new owners — the “Hamilton” creator Lin-Manuel Miranda, as well as the show’s director, Thomas Kail, lead producer, Jeffrey Seller, and the theater owner James L. Nederlander — said Wednesday that the store will have its long-delayed reopening on June 10.

The opening, at 266 West 39th Street, is a sign of the team’s confidence in Times Square, which has been largely theater-free since March 12, 2020, when the coronavirus pandemic forced Broadway to close. Broadway shows are not planning to resume performances until September, but the new store owners say they are ready for business.

The “Hamilton” team bought the Drama Book Shop, most recently located on West 40th Street, in early 2019 after years in which the store had struggled to survive the challenges of Manhattan real estate, e-commerce, and even a damaging flood. Kail had a particular passion for the bookstore, where he had run a small theater company in his early years as a professional; Miranda joined him there to work on “In the Heights,” a musical Kail directed. “In the Heights” has now been adapted into a film which is being released on June 11, the day after the bookstore opens.

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“SIX GUN JUSTICE” WITH PAUL BISHOP PODCAST: ROBERT DWYER & AUSTIN WRIGHT ON THEIR BOOK: ‘THE SHERIFF’ (FROM TWODOT BOOKS) ·

Listen

Hang out around the Six-Gun Justice water cooler for another Six-Gun Justice Conversation segment.  Co-host Paul Bishop talks with Western writers Austin Wright & Robert Dwyer, whose debut Western novel, The Sheriff, was released in April.

 

View The Sheriff on Amazon 

Reviews

I think that THE SHERIFF by Robert Dwyer and Austin Wright has a chance to be judged one of those rare modern Western fiction classics. The authors somehow manage to be both traditional and surprising on every page. … The town of Three Chop, grizzled Sheriff John Donovan, assorted outlaws radiating real menace, women just as desperate and cunning as any of the menfolk—there’s damned fine storytelling here.– Jeff Guinn, New York Times bestselling author of The Last Gunfight: The Real Story of the Shootout at the O.K. Corral―And How It Changed the American West

THE SHERIFF is the debut novel from authors Robert Dwyer and Austin Wright, and a strong debut it is. There are definite echoes of the traditional Western here but a more literary sensibility to the writing and plotting. It’s a bleak but impressive yarn and well worth reading if you’re looking for a Western that’s a bit offbeat while retaining a fondness for what’s gone before.– James Reasoner, New York Times bestselling author

About the Authors

Robert Dwyer is a history buff with an abiding interest in the West, which looms large in the American psyche–a canvas for big stories and big ideas. He lives with his wife and dog in Alexandria, Virginia.

Austin Wright started watching John Wayne movies with his dad before he was old enough to talk–and he’s been hooked on Westerns ever since. He lives with his wife, son, and daughter in Annandale, Virginia.

Read their interviews on Stage Voices:

Part 1 

Part 2  

 

THE BRIEF, BRILLIANT AND RADICAL LIFE OF LORRAINE HANSBERRY ·

(Parul Sehgal’s article appeared in The New York Times, 4/14; via Pam Green. Photo: The playwright Lorraine Hansberry in 1959. Credit…David Attie/Getty Images.)

The curtain rises on a dim, drab room. An alarm sounds, and a woman wakes. She tries to rouse her sleeping child and husband, calling out: “Get up!”

It is the opening scene — and the injunction — of Lorraine Hansberry’s 1959 play “A Raisin in the Sun,” the story of a Black family living on the South Side of Chicago. “Never before, in the entire history of the American theater, had so much of the truth of Black people’s lives been seen on the stage,” her friend James Baldwin would later recall. It was the first play by a Black woman to be produced on Broadway. When “Raisin” won the New York Drama Critics’ Circle award for best play, Hansberry — at 29 — became the youngest American and the first Black recipient.

How often the word “first” appears in the life of Hansberry; how often it will appear in this review. See also “spokeswoman” or “only.” Strange words of praise; meretricious even, in how they can mask the isolation they impose. Hansberry seemed to anticipate it all. At the triumphant premiere of “Raisin,” at the standing ovation and the calls for playwright to take the stage, she initially refused to leave her seat. “The thing that makes you exceptional, if you are at all,” she later wrote, “is inevitably that which must also make you lonely.”

Hansberry died in 1965, at 34, of cancer. The fact still feels intolerable, almost unassimilable — her death not merely tragedy but a kind of theft. “Look at the work that awaits you!” she said in a speech to young writers, calling them “young, gifted and Black” — inspiring the Nina Simone song of the same name. Look at the work that awaited her. She goaded herself on, even in the hospital: “Comfort has come to be its own corruption.”

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ROBERT DWYER & AUSTIN WRIGHT’S ACE IN THE HOLE: “THE SHERIFF” FROM TWODOT BOOKS (INTERVIEW, Part 2) ·

Robert Dwyer & Austin Wright posse up with Bob Shuman–for the second part of their Stage Voices interview on The Sheriff–and talk about fact being stranger than fiction, human nature and the big questions of morality and will, as well as the greatest Western of all time.

Robert Dwyer is a history buff with an abiding interest in the West, which looms large in the American psyche–a canvas for big stories and big ideas. He lives with his wife and dog in Alexandria, Virginia.

Austin Wright started watching John Wayne movies with his dad before he was old enough to talk–and he’s been hooked on Westerns ever since. He lives with his wife, son, and daughter in Annandale, Virginia.

“Has a chance to be judged one of those rare modern Western–fiction classics.”—Jeff Guinn, New York Times best-selling author

(Photos, from top: Robert Dwyer and Austin Wright.)

Did you find you became more interested in American History by writing the book—what kind of research did you do?

Absolutely. The concept of frontier, of the West as this unbounded land of freedom and opportunity, is central to the American psyche, whether true or not. Such a world of exploration, of struggle, of creation, is inherently interesting, and in reading histories one finds that fact is often stranger than fiction. We felt we needed to be true to the genre and true—to a degree—to historical fact. Enough not to jar readers, at least, which required research. We also wanted to make sure we could represent our more diverse cast of characters with adequate empathy and understanding. That meant reading about African American experiences during that time, reading about the lives of prostitutes, about suffragists, about Native Americans. And then writing is always improved by the little details that come from reading accounts of everyday lives—of the cowboy, the hotelier, the soldier, the homesteader.

Tell how you approached making your novel relevant for today,  if you feel it becomes that.

Our goal was to apply a modern moral lens to the traditional Western. That meant bringing to the forefront characters and perspectives that would have blended into the background in Westerns past, if they were there at all. Does the archetypal Western hero, the lawman, still look like a hero through the eyes of those at the bottom of the power structure? We also believe our novel speaks to present-day politics, exploring the tension between populism and elitism, rural and urban, individualism and collectivism.

What person did the most to make you a writer—what did they give you?

Rob: My parents, who filled the house with books and always encouraged reading. I think it’s inevitable that reading turns into writing. I was also lucky to have wonderful English teachers along the way, who taught me invaluable lessons in good writing, particularly in high school. Although I have had to unlearn certain things—like putting two spaces after my periods.

Austin: My dad, a teacher, moonlights as a novelist and playwright. He wakes up early most mornings to put in a few hours of writing before work. As a child, I started getting up with him—and he’d slide a pen and paper my direction and encourage me to create my own stories. Since then, he’s always been my chief editor and sounding board. He gave me the knowledge that writing is not glamorous or flashy—it’s about sitting down at the keyboard and getting the work done.

What western movies do you remember as kids that you feel the same way about today—or ones that you have changed your minds about? Should the movie The Searchers be banned?

As kids, we preferred the moral clarity of John Wayne to the more ambiguous Clint Eastwood. But as adults, our appreciation for Clint Eastwood’s Westerns has grown tremendously, from A Fistful of Dollars to Unforgiven. We would now rank The Good, The Bad, and the Ugly as the greatest Western of all time. Breathtaking in scope—and with the most riveting score in film history—it features three men racing to find buried treasure as the Civil War rages all around them, portrayed mostly as an inconvenience to their search. Is there a better representation of the  human comedy—of our grand obsession with personal fortune even in the face of collective calamity?

As for The Searchers, which is a big exception to our John Wayne “moral clarity” comment…We tend to oppose the banning of books and movies, a principle instilled in us by our high school English teachers. But if you’re interested in the real-life story that inspired The Searchers, we’d recommend the book Empire of the Summer Moon, by S. C. Gwynne. It’s riveting, extraordinarily well-researched, and does much more to humanize the Comanche people than the movie.

Does a new form of Western need to evolve—and what would such works probably look like? What do you appreciate most about the conventions of writing Westerns?

Not necessarily. It all depends on what one means by Western. To us, the Western uses that particular historical and geographical setting to tell a story that probes human nature and big questions of morality and will. How do humans behave and organize in the absence of overwhelming, top-down social structures?

A good example is The Ox-Bow Incident, by Walter Van Tilburg Clark. This tight little novel asks deep questions of justice, xenophobia, mob mentality, and human nature, all arising organically in a Western setting where citizens are able to take justice into their own hands. You just can’t ask those questions as easily anywhere else. Ox-Bow manages to keep that element of Western setting, to tell a recognizably Western story, without glorifying its injustices—on the contrary, it grapples with them. And it was written in 1940.

Westerns, we think, go wrong when they glorify a past that was so clearly abominable for whole classes of people. But good stories can be—and are—told there. It requires grappling with and acknowledging the true history of the West. Now, there’s a whole genre of what we’ll call anti-Westerns, which are written exclusively to subvert or oppose the traditional Western. That’s great, but one shouldn’t expect lovers of traditional Westerns to necessarily appreciate them. We think there’s a middle ground—and we hope The Sheriff finds it—where the past is acknowledged, where the age isn’t naively glorified, but where the story is still recognizably Western. And fun.

What’s your next project?

We’re working on a contemporary mystery about a small town reporter and single father who gets laid off and takes to solving a murder—while also scrambling to figure out how to provide for his son. We’re on what feels like the thousandth draft. But we’re getting close to that magical point where the plot and character motivations feel right, and we can focus on the higher-level fun stuff like voice, themes, and foreshadowing. We hope to finish this year.

We’ve also outlined a successor novel to The Sheriff, called The Outlaw, which centers around the gender-bending Western gangster Jack Holloway. Our outline is modeled after The Godfather Part II in that it is both a sequel and an origin story. Whether or not this project becomes a reality will depend on the success of The Sheriff.

Thank you so much for talking with Stage Voices.

View  The Sheriff on Amazon.

(c) 2021 by Robert Dwyer & Austin Wright  (answers) and Bob Shuman (questions). All rights reserved.

Cover photo: TwoDot.