An artist who pays much attention to his dreams, Jim McJunkin has for many decades created images he takes from dreams and from the feelings his dreams bring to him. Years ago the basis of his dream art came from creative use of wet photography. Today he still buys rolls of film to use in what most people would regard as an outdated camera. He also uses the new digital cameras and manipulates the images in a variety of ways that include but are not limited to use of computer photo editing.
Deep Sleep is a collection of some 80 works of art that startle and delight—and always leave viewers with something to think about. The book contains verbal musings about dreams in general and McJunkin’s own specific dreams. Jim has written for this book only about seven thousand words. Readers will find Jim’s short essays informative, helpful in understanding the art, and delightful, but mostly readers learn about the dreams through looking at the graphic art and pondering its symbolic meanings.
This book also contains an interview with the artist. Writer Carroll Wilson asks exactly the right questions that prompt McJunkin to talk about the complexity of his dreams and the art those dreams move him to create.
The essays in this book explore numerous topics: a photographer’s sense of aesthetics, the suicide of a sharecropper , Oklahoma literature and culture.
For her collection of poetry Work is Love Made Visible, Jeanetta Calhoun Mish won an Oklahoma Book Award, a Wrangler Award, and a WILLA Award from Women Writing the West. Her writing appears in numerous journals and anthologies, and she contributes much to Southwestern and American letters with her editorial work. She is founding editor of the active and successful Mongrel Empire Press. She serves as Director of The Red Earth Creative Writing MFA program at Oklahoma City University where she is also a faculty mentor in writing pedagogy and the craft of poetry.
For more information go to her personal website.
W.K. Stratton continues his exploration of alter ego alleyways in his second book of poetry, Ranchero Ford/Dying in Red Dirt Country. Written in both verse and prose-poem form, the pieces in the book form a poetic concept album dealing much with time and place and family, both real and imagined. The poems draw images from a tough society populated by oilfield roughnecks, bootleggers, brawlers, and outlaws. Ranchero Ford/Dying in Red Dirt Country is bookended by long pieces exploring loss in the unforgiving territory.
Stratton, a past president of the Texas Institute of Letters, has written four books of nonfiction and co-edited another. He is currently at work on book about Sam Peckinpah and The Wild Bunch.
David Bowles, Border Lore, Folktales and Legends of South Texas
Award-winning translator and author David Bowles brings together twenty-five darkly memorable stories of the southern borderlands of Texas, retold in his unique voice. Ranging from the age-old folktales heard at his grandmother’s knee to urban legends collected down the years, each of these narratives is brought to stunning visual life by artist José Meléndez. An appendix classifies the pieces and enumerates motifs.
In Local Bird, Laurence Musgrove offers us both new poems and previously published selections from descant, New Texas, Concho River Review, Elephant Journal, Sleet Magazine, Inside Higher Ed, and Southern Indiana Review. Organized into eight sections, this collection speaks in a consistently simple, direct, generous, and tender style about teaching and learning, reading and writing, domestic conflict, the family pet, as well as meditations on the natural world. But it’s not all serious business; Musgrove shows a playful side while poking fun at modern technology, bureaucratic inefficiencies, and even his job as a college teacher of writing. And then there are those more formal and melodic examples in poems like “If You Want Me” and “Barbequing in the Rain” that explore more regular rhythms and rhymes