Rediscover Indiana's 42 New Deal Post Offices. The United States Postal Service is selling historic buildings. Some of these house historic artwork created during the Great Depression of the 1930s. Not all the murals remain in their original location. In some cases, the fate of the art, and buildings remains unknown. Learn which towns have murals and which ones have moved. The Indiana Post Office Mural Guidebook will teach you the following: Which buildings and towns have murals viewable by the public. Which buildings have been closed and the artwork moved. Which buildings have been razed. Which art has been reported missing, lost or destroyed. Get your copy today and use it as your guide on your next trip through Indiana. For up-to-date photos and additional stories, please visit us at: www.postofficefans.com. This is the perfect book for the post office enthusiast and history buff. While it does not include images of the murals. It does show the buildings and provides the traveler with the status of the murals.

The united states government commissioned over 1,100 murals for the embellishment of post offices nationwide. Wisconsin received 35 of these murals. After nearly 85 years, the story of their existence is elusive and often overlooked. Gates's research of the correspondence between the artists and government tells the stories of how the murals were developed and eventually installed in small towns throughout Wisconsin. Wisconsin Post Office Murals is packed with fascinating details: 130 full-color images of the murals 70 images of buildings and cornerstones Full-color map with the location of each town The history and story of each mural Written to educate and promote these wonderful Depression-era works of art and buildings, Wisconsin Post Office Murals is a must-have for any New Deal, history, or post office enthusiast. If you've ever been to any of the 35 post offices written about here and asked yourself, Why is there a mural in the lobby or Who is the artist who painted the mural on the wall, this is the book for you.

What towns have murals. What artwork has moved. What buildings are privately owned. Which murals have been destroyed. Use it as your guide on your next trip through Illinois. This is the perfect book for the post office enthusiast.

Tennessee Post Office Mural Guidebook: This book guides the reader to the location and status of post offices that received New Deal murals during the Great Depression. This guidebook revels the twenty-eight towns which received them, the title, the artist who created the murals and resources for further reading. It is the travel companion to Tennessee Post Office Murals.

Rediscover Wisconsin's 35 New Deal Post Offices. Learn the following, What buildings have murals. What artwork has moved. What buildings are privately owned, removing access to the public What murals have been destroyed Use it as your guide on your next trip through Wisconsin. This is the perfect book for the post office enthusiast / history buff.

Unconventions is a quirky and provocative miscellany that reveals Michael Martone’s protean interests as a writer and a writing teacher. Martone has, shall we say, a problem with authority. His chief pleasure in knowing the rules of his vocation comes from trying out new ways to bend, blend, or otherwise defy them. The pieces gathered in Unconventions are drawn from a long career spent loosening the creative strictures on writing. Including articles, public addresses, essays, interviews, and even a eulogy, these writings vary greatly in form but are unified in addressing the many technical and artistic issues that face all writers, particularly those interested in experimental and nontraditional modes and forms. Martone’s approach has always been to synthesize, to understand and use any technique, formula, or style available. “I find myself, then,” he writes, “self-identifying as a formalist, both and neither an experimenter and/or a traditionalist.” In “I Love a Parade: An Afterword,” Martone writes about not fitting in--and loving it--as he recalls the time he marched alone in a local Labor Day parade, as a one-person delegation from the National Writers Union. Elsewhere, in writings formally, stylistically, purposely at odds with themselves, Martone’s expansive curiosity is on full display. We learn about camouflage techniques, how a baby acquires language, how to “read” a WPA-era post office mural, and why Martone sold his stock in the New Yorker and reinvested his money in the company that makes Etch A Sketch®. Unconventions, then, is Martone’s “Frankensteinian monster,” a kind of unruly, hybrid spawn of the mainstream writing enterprise. “Writing seems to me an intrinsic pleasure, an end in itself first,” says Martone. “The question for me is not whether my writing, or any piece of writing, is good or bad but what the writing is and what it is doing and how finally it is used or can be used by others.”