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B o o k R e v ie w s ers have (49). The book is divided by periods: The Civil War to the Tum-of the-Century, the 1920s-1950s, the 1960s-1980s, and the 1990s, where it ends with “Moving On,” by Jill Patterson. Not only are the selections thoughtfully chosen, they are capacious enough to include formulaic, sentimental, realistic, modernistic, futuristic, and postmodem fiction. The book also celebrates voices from the region’s rich cultural and ethnic mixes, including such writers as Denise Chavez and Sunny Nash. The introductory remarks, “Texas Women and the Short Story,” should be mandatory reading for anyone interested in the development of the literature of the region, as well as those interested in the development of the short story, of regionalism as a literary phenomenon, or of feminist literature in general. In this thirty-page introduction, readers will learn about the pioneers of liter­ ary journals, clubs, criticism, and education; of women’s roles in promoting and contributing to libraries and magazines; and of women’s conscious efforts to support each other and improve each other’s literary styles and fiction in general. Prior to each selection, the editors have included brief biographies of the authors, descriptions of their work and salient literary criticism, as well as bibliographies that contain primary and secondary materials. These introduc­ tions alone merit study for any students interested in examples of exemplary literary scholarship. Let’s Hear It can be read in a number of ways, all of which the editors address in their introductory remarks. Questions readers might ask include the following: What is regionalism, and why is it a valid approach to the study of literature? Why should female writers be studied and presented at the exclusion of their male contemporaries? How has the short story evolved over the last century and a half, and how should it be studied vis-à-vis the novel and other genres? And what is the future of fiction and of the short story? With these and other questions in mind, readers will find more than enough to interest them in this excellent collection. Father Nature: Fathers as Quides to the Natural World. Edited by Paul S. Piper and Stan Tag. Iowa City: University of Iowa Press, 2003. 202 pages, $39.95/$19.95. Reviewed by Sarah Vause Snow Weber State University, Ogden, Utah Father Nature: Fathers as Guides to the Natural World is a welcome addition to the field of nature writing. Edited by Stan Tag and Paul S. Piper, the book is a brilliant tribute to fathers who have introduced their children to the wonders of the natural world. Broken into three sections, “Fathers,” “Fathers & Fathering,” and “Fathering,” the essays contained in this collection help us understand the complex nature of fatherhood. w e s t e r n A m e r ic a n l it e r a t u r e S p r in g 2 0 0 6 In “Fathers,” writers such as Jessica Maxwell, Paul S. Piper, and Gretchen Legler reflect on their introduction to the natural world by their fathers. Maxwell takes the reader back in time to experience what she did with her father: fishing, collecting seashells, and discovering various forms of sea life. This essay is a tribute to the “person who gave [her] a vantage from which to see the world” (3). It is touching and inspiring as are the other essays in this section that honor the men who instilled in each of the authors a love for the wild places of the earth. “Fathers &. Fathering” provides another perspective as the writers in this section are writing from the point of view of both father and son. John Elder writes of a father who now suffers from the effects of Alzheimer’s. Elder remem­ bers a man who was adventurous and could navigate the turbulent waters of the Gulf of Mexico in a canoe, not a father who can’t remember where he lives and who can’t take care of himselfanymore. Elder then recounts an experience that he has with his son in the canoe he made as a tribute to his father. Elder...


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pp. 89-90
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