Chapter 16
A Community of Tennessee Writers, Readers & Passersby

Ed Tarkington

Don't Chase It, And It Will Come Back

In Nightwoods, Charles Frazier has written a tender love story, a taut thriller, and a worthy successor to Cold Mountain

September 26, 2011 Charles Frazier catapulted to fame in the late nineties thanks to the unlikely and extraordinary success of Cold Mountain. All of his work since has been characterized by the same patient plot development and gorgeously meticulous period detail. At the center of each of his novels are pairs of lovers separated by time and circumstance, each longing for the other, convinced that the love between them can somehow heal a soul damaged by the random cruelty of an unmerciful world. His new book, Nightwoods, is no exception. Frazier will appear at the 2011 Southern Festival of Books, held October 14-16 in Nashville. All events are free and open to the public.

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An Honest Woman

In Georgia Bottoms, Mark Childress delivers a comic sendup of small-town pretensions

August 26, 2011 Already pushing forty, Georgia Bottoms somehow remains the legendary bombshell of Six Points, Alabama, without missing a single Sunday service at the First Baptist Church, and despite a revolving-door cast of gentleman—including the pastor, the sheriff, a prominent judge, and a bank president—all of whom are devoted to her charms and completely unaware that they are not the only “caller” entertained by Miss Georgia in her garage-apartment boudoir. Mark Childress will read from his hilarious new novel, Georgia Bottoms, at the 2011 Southern Festival of Books, held October 14-16 in Nashville.

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Discovering the Story by Writing It

Michael Knight’s acclaimed World War II novel, The Typist, is released in a new paperback edition

August 22, 2011 In a conversation about his acclaimed novel The Typist, UTK creative-writing professor Michael Knight talks with Chapter 16 about taking on history, the Southern literary tradition, and living with a Roll Tide heart in Volunteer country. Knight will discuss The Typist at Union Ave. Books in Knoxville on August 27 at 6 p.m.

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From Ahab to Akmaaq

John Minichillo’s The Snow Whale is a satirical retelling of Melville’s Moby-Dick

August 9, 2011 In his debut novel, The Snow Whale, MTSU creative-writing professor John Minichillo uses Melville’s Moby-Dick as a touchstone for a satirical juxtaposition of the trivialities of cubicle culture with the wilds of Northern Alaska, where men still hunt whales—to consequences both hilarious and unexpectedly moving. Today Minichillo talks with Chapter 16 about the challenges of imagining a traditional whale hunt, finding a venue for unconventional fiction in small-press publishing, and taking on the Great American Whale.

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High-Country Song

In his debut work of fiction, Lime Creek, renowned lyricist Joe Henry pays homage to stoic lives molded by the unyielding landscapes of the mountain West

July 14, 2011 Joe Henry has made a career of his gift for penning unforgettable lyrics. He has worked with a variety of artists in multiple genres, from Vince Gill and Garth Brooks to John Denver and Burt Bacharach, and his songs have been recorded by artists as disparate as Frank Sinatra and Rascal Flatts. In Lime Creek, his debut work of fiction, Henry translates his gift for the transcendent insight and the unforgettable turn of phrase into an extended meditation on the lives of a ranching family in the high country of the mountain West.

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Master Class

In Morning, Noon, and Night, Arnold Weinstein writes a moving testament to the persistent power of literature

May 10, 2011 Library shelves are heavy with testimonials to the value of literature: more recently, Harold Bloom’s The Western Canon and How to Read and Why, or, for the previous generation, the works of Northrop Frye or Charles Van Doren, to name only a few. Arnold Weinstein’s Morning, Noon, and Night deviates from the formula chiefly by steering away from pedagogical sermons and, instead, inviting its readers to examine themselves through life’s stages—growing up and growing old; innocence and experience; love and death—with a verve and generosity atypical of literary criticism. In fact, it’s almost unfair to call Morning, Noon, and Night a work of criticism; it stands more as an act of interpretive advocacy.

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