Consists chiefly of excerpts from the Badger State banner, Black River Falls, Wis., for the years 1885-1900 and of photos. taken by Charles Van Schaick from 1890 to 1910.

The cursed village of Ewerton, Wisconsin is one of the great "bad places" in weird literature: a town that's just thoroughly bad to the bone--evil and dark and full of human suffering. And now A. R. Morlan returns to the scene of her classic horror novels, The Amulet and Dark Journey, with 25 horrific tales of men and women pushed beyond the limits of endurance. As Ardath Mayhar says: "The horror she evokes is not so much occult as uniquely human. The worst of human traits are her stock in trade. The hints of otherworldly elements are used in just the right proportions to make one shiver." And Robert Reginald states: "She drives the stake of horror right through the center of your quivering heart!

Popular public radio show host Michael Feldman and coauthor Diana Cook introduce Wisconsin's weirdest, wackiest, and most outrageous people, places, and things including a man who owes his life to a foam rubber cheesehead, a worm that plays basketball, and the best place to savor chicken in a hubcap.

A landmark volume explores photographer Henry Hamilton Bennett's many-layered relationship with Wisconsin Dells Native peoples, the Ho-Chunk, places Bennett within the context of contemporary artists and photographers of American Indians, and examines the reception of this legacy by the Ho-Chunk. Simultaneous.

Providing a fresh angle on adaptation studies, this study looks at how avant-garde directors and filmmakers have treated literary works in distinct ways.

In this sequel to Fiction & the Figures of Life, one of America's most brilliant and eclectic minds examines literature, culture, writers (their lives and works), and the nature and uses of language and the written word. Included are discussions of Valéry, Henry Miller, Sartre, Freud, Faulkner, suicide, "art and order," and the transformation of language into poetry and fiction. The vividness and clarity of Gass's writing, the unabashed love and inimitable use of language-his startling metaphors, the sinuousness of his philosophy, the originality of his vision-make each essay a searching revelation of its subject, as well as an example of Gass's own singular artistry.

Throughout the centuries, different cultures have established a variety of procedures for handling and disposing of corpses. Often the methods are directly associated with the deceased’s position in life, such as a pharaoh’s mummification in Egypt or the cremation of a Buddhist. Treatment by the living of the dead over time and across cultures is the focus of study. Burial arrangements and preparations are detailed, including embalming, the funeral service, storage and transport of the body, and forms of burial. Autopsies and the investigative process of causes of deliberate death are fully covered. Preservation techniques such as cryonic suspension and mummification are discussed, as well as a look at the “recycling” of the corpse through organ donation, donation to medicine, animal scavengers, cannibalism, and, of course, natural decay and decomposition. Mistreatments of a corpse are also covered.

Beginning with Walt Whitman singing hymns at a wounded soldier’s bedside during the Civil War, this surprising and vivid anthology ranges straight through to the twenty-first century to end with Francine Prose crying tears of complicated joy at the sight of Whitman’s words in Zuccotti Park during the brief days of the Occupy movement. The first anthology of its kind, Radiant Truths gathers an exquisite selection of writings by both well-known and forgotten American authors and thinkers, each engaged in the challenges of writing about religion, of documenting “things unseen.” Their contributions to the genre of literary journalism—the telling of factual stories using the techniques of fiction and poetry—make this volume one of the most exciting anthologies of creative nonfiction to have emerged in years. Jeff Sharlet presents an evocative selection of writings that illuminate the evolution of the American genre of documentary prose. Each entry may be savored separately, but together the works enrich one another, engaging in an implicit and continuing conversation that reaches across time and generations. Including works by: Walt Whitman • Henry David Thoreau • Mark Twain • Meridel Le Sueur • Zora Neale Hurston • Mary McCarthy • James Baldwin • Norman Mailer • Ellen Willis • Anne Fadiman • John Jeremiah Sullivan • Francine Prose • Garry Wills • and many others

For almost thirty years, David Thomson’s Biographical Dictionary of Film has been not merely “the finest reference book ever written about movies” (Graham Fuller, Interview), not merely the “desert island book” of art critic David Sylvester, not merely “a great, crazy masterpiece” (Geoff Dyer, The Guardian), but also “fiendishly seductive” (Greil Marcus, Rolling Stone). This new edition updates the older entries and adds 30 new ones: Darren Aronofsky, Emmanuelle Beart, Jerry Bruckheimer, Larry Clark, Jennifer Connelly, Chris Cooper, Sofia Coppola, Alfonso Cuaron, Richard Curtis, Sir Richard Eyre, Sir Michael Gambon, Christopher Guest, Alejandro Gonzalez Inarritu, Spike Jonze, Wong Kar-Wai, Laura Linney, Tobey Maguire, Michael Moore, Samantha Morton, Mike Myers, Christopher Nolan, Dennis Price, Adam Sandler, Kevin Smith, Kiefer Sutherland, Charlize Theron, Larry Wachowski and Andy Wachowski, Lew Wasserman, Naomi Watts, and Ray Winstone. In all, the book includes more than 1300 entries, some of them just a pungent paragraph, some of them several thousand words long. In addition to the new “musts,” Thomson has added key figures from film history–lively anatomies of Graham Greene, Eddie Cantor, Pauline Kael, Abbott and Costello, Noël Coward, Hoagy Carmichael, Dorothy Gish, Rin Tin Tin, and more. Here is a great, rare book, one that encompasses the chaos of art, entertainment, money, vulgarity, and nonsense that we call the movies. Personal, opinionated, funny, daring, provocative, and passionate, it is the one book that every filmmaker and film buff must own. Time Out named it one of the ten best books of the 1990s. Gavin Lambert recognized it as “a work of imagination in its own right.” Now better than ever–a masterwork by the man playwright David Hare called “the most stimulating and thoughtful film critic now writing.”

We take for granted the idea that white, middle-class, straight masculinity connotes total control of emotions, emotional inexpressivity, and emotional isolation. That men repress their feelings as they seek their fortunes in the competitive worlds of business and politics seems to be a given. This collection of essays by prominent literary and cultural critics rethinks such commonly held views by addressing the history and politics of emotion in prevailing narratives about masculinity. How did the story of the emotionally stifled U.S. male come into being? What are its political stakes? Will the "release" of straight, white, middle-class masculine emotion remake existing forms of power or reinforce them? This collection forcefully challenges our most entrenched ideas about male emotion. Through readings of works by Thoreau, Lowell, and W. E. B. Du Bois, and of twentieth century authors such as Hemingway and Kerouac, this book questions the persistence of the emotionally alienated male in narratives of white middle-class masculinity and addresses the political and social implications of male emotional release.

In 1988, photographer Sandy Sorlien set out on a series of journeys to document the rich architectural heritage that America is losing to the cheap and banal design aesthetic of tract housing, strip malls, and big-box stores. Her seven-year odyssey took her over 90,000 miles of back roads to every state in the Union in search of homes that reflect and define the region in which they stand. After making over a thousand house portraits, Sorlien has chosen one representative image from each state and collected them in this volume.

A transporting work of photographic history that offers a haunting vision of how Americans viewed the world at the dawn of the twentieth century.

Rural Wisconsin, 1909. In the bitter cold, Ralph Truitt, a successful businessman, stands alone on a train platform waiting for the woman who answered his newspaper advertisement for "a reliable wife." But when Catherine Land steps off the train from Chicago, she's not the "simple, honest woman" that Ralph is expecting. She is both complex and devious, haunted by a terrible past and motivated by greed. Her plan is simple: she will win this man's devotion, and then, ever so slowly, she will poison him and leave Wisconsin a wealthy widow. What she has not counted on, though, is that Truitt — a passionate man with his own dark secrets —has plans of his own for his new wife. Isolated on a remote estate and imprisoned by relentless snow, the story of Ralph and Catherine unfolds in unimaginable ways. With echoes of Wuthering Heights and Rebecca, Robert Goolrick's intoxicating debut novel delivers a classic tale of suspenseful seduction, set in a world that seems to have gone temporarily off its axis.

From the #1 New York Times bestselling author Stephen King, four “disturbing, fascinating” (The Washington Post) novellas—including the story “1922,” a Netflix original film—that explore the dark side of human nature. “The pages practically turn themselves” (USA TODAY) in Full Dark, No Stars, an unforgettable collection centered around the theme of retribution. In “1922,” a violence awakens inside a man when his wife proposes selling off the family homestead, setting in motion a grisly train of murder and madness. In “Big Driver”, a mystery writer is brutally assaulted by a stranger along a Massachusetts back road and plots a revenge that will bring her face-to-face with another stranger: the one inside herself. In “Fair Extension,” making a deal with the devil not only saves a man from terminal illness but also provides rich recompense for a lifetime of resentment. In “A Good Marriage,” the trust forged by more than twenty years of matrimony is irrevocably shattered when a woman makes a chance discovery leading to the horrifying implications of just who her husband really is. Like Different Seasons and Four Past Midnight, which generated such enduring hit films as The Shawshank Redemption and Stand by Me, King’s Full Dark, No Stars is a “page-turner” (The New York Times) “as gripping as his epic novels” (St. Louis Post-Dispatch), and “an extraordinary collection, thrillingly merciless, and a career high point” (The Telegraph, UK).

Celebrate the centurys' finest movies in The Rough Guide to 21st Century Cinema, a lavishly illustrated homage to the world's best movies of this new era of cinema. The best 101 films: a run down of the finest films of the millenium from Hollywood blockbusters to indie gems. The hottest stars: features on the up and coming actors and actresses who have made a mark. The winning genres: best-in-class features on drama, comedy, horror, sci-fi, animation, documentary, superhero movies and all the genre-mash ups in between. The unsung heroes: the finest talent behind the camera, including directors, cinematographers, set designers and special effects specialists. The Rough Guide to 21st Century Cinema is the essential companion to movies of the moment. Now available in ePub format.

The saga of a pioneer family is chronicled by Dalva, a woman searching for the lost son she had by Duane, a half-Sioux, and whose Indian heritage becomes an important part of Dalva's narrative

People of the Big Voice tells the visual history of Ho-Chunk families at the turn of the twentieth century and beyond as depicted through the lens of Black River Falls, Wisconsin studio photographer, Charles Van Schaick. The family relationships between those who “sat for the photographer” are clearly visible in these images—sisters, friends, families, young couples—who appear and reappear to fill in a chronicle spanning from 1879 to 1942. Also included are candid shots of Ho-Chunk on the streets of Black River Falls, outside family dwellings, and at powwows. As author and Ho-Chunk tribal member Amy Lonetree writes, “A significant number of the images were taken just a few short years after the darkest, most devastating period for the Ho-Chunk. Invasion, diseases, warfare, forced assimilation, loss of land, and repeated forced removals from our beloved homelands left the Ho-Chunk people in a fight for their culture and their lives.” The book includes three introductory essays (a biographical essay by Matthew Daniel Mason, a critical essay by Amy Lonetree, and a reflection by Tom Jones) and 300-plus duotone photographs and captions in gallery style. Unique to the project are the identifications in the captions, which were researched over many years with the help of tribal members and genealogists, and include both English and Ho-Chunk names.