A timid, retiring woman seeks an explanation for the suicide of her vivacious but troubled daughter and along the way comes to a better understanding of herself.

The Dictionary of Midwestern Literature, Volume One, surveys the lives and writings of nearly 400 Midwestern authors and identifies some of the most important criticism of their writings. The Dictionary is based on the belief that the literature of any region simultaneously captures the experience and influences the worldview of its people, reflecting as well as shaping the evolving sense of individual and collective identity, meaning, and values. Volume One presents individual lives and literary orientations and offers a broad survey of the Midwestern experience as expressed by its many diverse peoples over time.Philip A. Greasley's introduction fills in background information and describes the philosophy, focus, methodology, content, and layout of entries, as well as criteria for their inclusion. An extended lead-essay, "The Origins and Development of the Literature of the Midwest," by David D. Anderson, provides a historical, cultural, and literary context in which the lives and writings of individual authors can be considered.This volume is the first of an ambitious three-volume series sponsored by the Society for the Study of Midwestern Literature and created by its members. Volume Two will provide similar coverage of non-author entries, such as sites, centers, movements, influences, themes, and genres. Volume Three will be a literary history of the Midwest. One goal of the series is to build understanding of the nature, importance, and influence of Midwestern writers and literature. Another is to provide information on writers from the early years of the Midwestern experience, as well as those now emerging, who are typically absent from existing reference works.

Today's most celebrated, prominent, and promising authors of gay fiction in English explore the literary influences and themes of their work in these revealing interviews with Richard Canning. Though the interviews touch upon a wide range of issues—including gay culture, AIDS, politics, art, and activism—what truly distinguishes them is the extent to which Canning encourages the authors to reflect on their writing practices, published work, literary forebears, and their writing peers—gay and straight. Edmund White talks about narrative style and the story behind the cover of A Boy's Own Story. Armistead Maupin discusses his method of writing and how his work has adapted to television. Dennis Cooper thinks about L.A., AIDS, Try, and pop music. Alan Hollinghurst considers structure and point of view in The Folding Star, and why The Swimming-Pool Library is exactly 366 pages long. David Leavitt muses on the identity of the gay reader—and the extent to which that readership defined a tradition. Andrew Holleran wonders how he might have made The Beauty of Men "more forlorn, romantic, lost" by writing in the first person.