Owner of the Noctua Nook Trailer and Bookstore, Gilda Bour, on Banned Books, Knowing When to Speak Up, and The Power of Escapism

Samantha Hasse

The ongoing rise of book bans across the United States has inspired many bookstores to create dedicated displays for banned books. Some have gone further, creating traveling bookmobiles that provide access to banned books across the United States.

Among these traveling bookmobiles is The Noctua Nook Trailer, owned and run by bookstore-owner and historian Gilda Bour, with the assistance of her son, Holden Bour. The trailer debuted this summer in the Chippewa Valley, and continues to make stops across Wisconsin and Minnesota, stocked with books available for purchase. The trailer features banned and challenged books, historical texts, and books of fantasy, mythology and folklore.

I had the pleasure of visiting Bour’s brick-and-mortar bookstore, The Noctua Nook (and taking a peek at the Noctua Nook Trailer parked out front), where we discussed her passion for sharing and providing knowledge, history, and escapism to fellow readers.

Bour was inspired to create her own traveling book trailer when she noticed the lack of bookmobiles in Wisconsin. She recalled growing up in California, and looking forward to the local bookmobile’s visit to her small school. She wanted to bring one to Wisconsin. “I saw a couple pop up, but nowhere near…and I thought, ‘that's a really cool idea.’" The more she thought about it, the more she was motivated to create a space for youth to access informative texts and literature.

Once she made the decision to open her own trailer, she considered every little detail, hoping to curate an escape for visitors. Bour explained, “I wanted it to feel warm and magical. So, even just picking the paint, something that reflects a little bit of a gold sparkle, and little things like that. How do I marry banned books and mythology and history and romantasy? How do I take my favorite things and put them together and share them with someone else?”

The curation of her trailer did not stop at aesthetics, however; as a historical scholar, Bour felt it was important to provide not only entertainment, but also readers’ access to critical informational literature—especially historical texts and banned books. She explained, “I was looking at American history. When did we have that revolutionary spirit again? Was it just that one time? And then I kept seeing that it never ended, that some people got rights and others didn't. That even though we had a constitution, due process and rights aren't guaranteed, and they're not there for everyone.”

Bour was interested in researching history from a young age, but that interest grew when she learned more about her family history—and the more she learned, the harder it was for her not to speak about historical and current events and share them with the public. She shared, “my great-grandfather and great-grandmother were Italian immigrants during the time of the Palmer Raids. Learning about what their experiences may have been, about what their fears and how what we're experiencing right now is the same thing. That we've already been through this parallel once. And so, I am political…I couldn't learn more about the Progressive Era and stay silent. It's hard to stay silent when you learn more.”

The American Library Association’s (ALA) Office for Intellectual Freedom found that there were 4,235 unique titles challenged in 2025 — the second highest number of book ban attempts ever documented by ALA. In a time where information is being restricted to the public, especially to young adults, the refusal to stay silent about political issues is crucial, and that is why these book trailers, which feature banned books, are so important.

Bour is one among those who are refusing to stay silent. “Especially being a young woman... sometimes it's hard to find your voice. Once I found my voice and found that it's important to speak up, I speak up more,” she explained. “You learn to speak no matter what, and to say, “no, that's wrong, and I'm gonna fight for better.’ That equality's important for everyone—justice, due process, for everyone.”

According to the ALA, of the 4,235 books challenged to be banned in 2025, 39% of them were representations of LGBTQIA+ people and people of color. Bour stressed the importance of access to a diverse range of perspectives in literature. “You don't know what you're going to see in someone else's perspective that is either similar to yours, and makes you feel less lonely,” she stated, “or a perspective that's gonna make you reconsider your own.”

Reading literature can help people understand the world around them a little more, build empathy, and discover new perspectives and ways of living that they might not have access to in their own lives. For many, it can also be a mode of escapism.

Bour stressed the value of escapism in literature. “I just had a couple tough weeks, and I took a day…all I did was read. All I did was just escape into a story…and, I think that sometimes we can find things that bring us joy,” she said. “The ability to travel when we can't travel is in a book. The ability to learn something from the perspective of another is in a book.”

This type of escapism can be particularly beneficial to younger readers, especially to those who may feel like they’re trapped in their own lives. “I've met younger people here who feel like there's nothing else in the world. And their view is so cynical at fifteen, sixteen years old. And it's, you know, look at this book. Look at what this brings, that this town isn't everything. What you see here and experience in here—there's more to the world. The world is huge, and vast, and this isn't forever,” Bour expressed. “And I think that type of escapism—sometimes the desire never leaves us.”

Book bans affect young adults the most, especially those who rely on school libraries for access to books. These are young readers who might not be able to afford buying books, or who live in rural areas that don’t have a local bookstore. Bour is aware of this, and makes an effort to help those who don’t have the means for a purchase. “One of the things I do with banned books is, if there are teenagers that come into the trailer and they're looking…they're not sure about buying it or can't afford it, we give it to them. So if they're interested and they have a desire to read it, we let them have the book,” she said. “When they're curious about something, it's helping to give them the tools to expand that curiosity into knowledge.”

“To Bour, the backbone of her business, above all, is human connection.”

To Bour, the backbone of her business, above all, is human connection. Another feature of Bour’s carefully crafted bookstore is that everyone who enters, even without purchase, is given the option to be given a scroll with a prophecy on it, crafted by Bour, based on research of mythological legends. She described an interaction she had with a customer who pulled a prophecy that they ended up heavily relating to, which resulted in a conversation between them and Bour about their shared experiences. Bour shared, “It’s those types of experiences, you know, the human-to-human connection…I don't feel like there's this drive to run a business so much as provide something to the world that's part of me, if someone wants to come into it.”

Gilda Bour’s bookstore, the Noctua Nook, and its traveling counterpart, the Noctua Nook Trailer, are havens of magic and knowledge that I would encourage anyone to visit, if not for the banned books, fantastical literature, or the escapist feel, then for the human to human connection with someone who wants to listen.

The Noctua Nook, located in Elmwood, is open every Sunday, and you can catch Gilda and Holden Bour’s traveling book trailer at one of their upcoming events, with one event currently scheduled in Chippewa Falls at “Vendors in the Vines” at the River Bend Winery on November 21st.

Author of Ghouls Rule: A Celebration of Female Movie Monsters Emma Alice Johnson on Why There Should Be More Monstrous Female Monsters

Samantha Hasse

It is officially spooky season, and to commemorate, I had the pleasure of interviewing acclaimed author and zinester Emma Alice Johnson on her latest release, Ghouls Rule: A Celebration of Female Movie Monsters, in which she analyzes popular female monsters in horror films and highlights some of her lesser-known favorites.

Johnson is an avid horror-film watcher year-round. “The creators and fans are so passionate. This is absolutely an unscientific statement, but I'd bet there's more low-budget and DIY horror than any other genre, because horror creators are committed to telling their stories, regardless of their budgets, which I find inspiring,” she explains. “Also, it's just always been my genre. I grew up with Scooby-Doo and watching spooky movies with my dad. So at this point in my life, it's my comfort genre I guess!”

In Ghouls Rule: A Celebration of Female Movie Monsters, Johnson argues that there is a lack of female monsters in horror films, and highlights how many of the female monster  characters that do exist lack monstrous traits, because many of them still adhere to beauty standards. She explains, “I think filmmakers, particularly male filmmakers, are reluctant to show women as anything other than pretty, and actresses are expected to be pretty even in roles where doing so doesn't make sense.”

Johnson thinks that’s a little boring. “In Ghouls Rule, my focus is on celebrating the more monstrous femmes of filmdom…I don't want pretty vampires, and I definitely don't want serial killers. The real world has plenty of those types of monsters. I want monsters that are scary. I want monsters that are otherworldly,” she states.

She also criticizes how women creators are often expected to make their creative works highbrow, which can eliminate a certain notion of fun. “I feel like women filmmakers and actresses are often held to a higher standard in that regard than their male counterparts. It became very clear in all the interviews about The Substance a few years ago. Every interview with star Demi Moore and director Coralie Fargeat asked really intense questions about the meaning of this movie which is mostly just a gloppy ooze-fest. Nobody asks those kind of questions of Lloyd Kaufman about The Toxic Avenger,” she stated. “Women should be allowed to make icky, scary, fun movies without having to justify it with some intellectual theme.”

“We should be seen in every type of role that men are seen in, good, bad and ugly. Not only for the sake of diversity, but because it’s fun!”
— Emma Alice Johnson

Johnson believes that representation matters, even if it’s “bad” representation. “We should be seen in every type of role that men are seen in, good, bad and ugly,” she explains. “Not only for the sake of diversity, but because it's fun!”

Celebrate the spooky season with a copy of Ghouls Rule: A Celebration of Female Movie Monsters. You can also check out Emma Alice Johnson’s website, which contains her other works, which include books, short stories, and zines in the genres of horror, sci-fi, bizarro fiction, nature writing, and film and comic book criticism.

Stories Bring Us Together At The 27th Annual Chippewa Valley Book Festival

By Yvonne Fletcher

 An exciting time of year is fast approaching for the literary community: Chippewa Valley Book Festival week! Now in its 27th year celebrating literature, the Book Fest continues to bring renowned authors from across the country to the Chippewa Valley. The vast majority of these events are completely  free, so access to these artists and their wisdom is available to everyone regardless of background or financial means. Some are even available virtually to make them more accessible.

 I recently met with Sara Meeks, marketing chair of the Chippewa Valley Book Festival, to talk about the upcoming events and the behind-the-scenes work that went into this week-long experience. Bringing this unique fun into our own backyard is a huge undertaking that many, many people pour effort, energy and thought into.

 The organization is mostly volunteers coming together to share what they have read and who they feel would provide the best experience for those who take part. Donations from the community provide these opportunities so the event planners take very seriously and work hard to ensure that it is enjoyed by all. The focus is on balance, ensuring every genre is represented, and on diversity in both topic and author experience so there is something to appeal to all ages and backgrounds.

 “What always excites me most about the book festival is the wide range of events for all readers of all genres. This year is no different,” said CV Writers Guild director B.J. Hollars.  “Whether you enjoy children’s books or adult fiction or non-fiction or poetry, there’s something for everyone.”

It’s impossible to choose from the many lovely options that are provided for us. As a folklorist who also loves fiction, poetry, and children’s literature, I’ve listed my top picks below. Have a look! Then definitely check out all of the events here to make your own list! Maybe I will see you there!

 

Writing in Your Own Backyard: Local Columnists on Writing the Chippewa Valley

 

Brought to us, in part, by the Chippewa Valley Writer’s Guild—with CVBF support and sponsorship by the Honorable Thomas and Jill Barland—this event was apparently on everyone’s list because it was the first to sell out. Though we just received word that a few spots were just added! The Sawdust Stories columnists of the Leader-Telegram have come together to talk about finding inspiration close to home and working through the craft of sharing those stories. I enjoy finding the forgotten stories that built the spaces we share now and preserving them while respecting those who have gone before. I especially love the evolution of folklore as it changes from homegrown history into legend, so I am excited to find out new things about familiar places here.

Wednesday, October 21, 2026, from 6pm to 7:30pm in the Riverfront Hall of the Pablo Center at the Confluence.

Poetry and Conversation

 

Michael Torres, author of An Incomplete List of Names, will be discussing the ways poetry can be created from the experiences that shape us. Max Garland, former Wisconsin Poet Laureate, will be joining the discussion about how to bring memories to life in a way that resonates.  Centered on Torres’s award-winning collection of poetry, this event will also be this year’s Nadine St. Louis Memorial Poetry Conversation, which is an annual poetry program honoring the memory of poet, UWEC professor, and early founder of the Chippewa Valley Book Festival. The idea of holding onto all of the messy, meaningful bits of life that make us human and molding them into something beautiful is what makes this workshop so exciting. This exploration is sure to be a wonderful experience, and there is still room to sign up here!

Thursday, October 22, 2026, from 7:30pm to 8:30pm in the Riverview room of the L.E. Phillips Memorial Public Library.

What is True in Fiction?

 

Rita Woods, author of The Edge of Yesterday, will be talking with us about the seeds of ideas that become a story and the truth that is found at the heart of all stories, no matter what genre. I am excited to understand the seeds that turned into her finished books and to have the chance to explore some of my own beginning truths to see what potential they have. This conversation is sure to be interesting, so register here to join us!

Saturday, October 24, 2026, from 1pm to 2pm in the L.E. Phillips Memorial Public Library Riverview Room.

The Mysterious Ordinary

The magic of turning the commonplace into mystery will be explored with Rebecca Kauffman as we discuss her latest award-winning novel, The Reservation. I am working on a mystery as well, so my reasons for wanting to hear what she has to say are obvious, but I am sure this conversation will be enlightening from many different angles. Sign up here to explore your own ordinary mysteries!

Saturday, October 24, 2026, from 2:30pm to 3:30pm in the L.E. Phillips Memorial Public Library Riverview Room.

Playing With Books

Sara explained to me that she tries to read as many of the books from the festival as possible, which is so understandable because they all look amazing! Since Sara and I are both  moms, Matt Forbeck’s workshop stood out to us! Using his latest book, Minecraft: Roll for Adventure we will explore how video games and books can merge for play that will appeal to the kids who love Minecraft and the parents who are worried about too much screentime and all of the ages in between. I love choose-your-own-adventure books and role-playing games (this one comes with dice!) and Sara's boys already tested it to be sure it’s fun! No registration is required for this event or for the two Minecraft parties,so there are lots of chances to come out and play!

Playing with Books is in the Riverview Room in the L.E. Phillips Memorial Public Library on Friday, October 23, 2026, from 4:30pm to 5:30pm.

The L.E. Phillips Memorial Public Library is hosting a Minecraft Pre-Party with hands-on crafts and activities for children from kindergarten age to twelfth grade and their families on Monday, October 19 from 1pm to 3pm.

There’s also another chance to party Minecraft-style at the Chippewa Falls Public Library for children from ages ten to eighteen and their families on Tuesday, October 20 from 3:30pm to 5:30pm.

Sara shared that the most rewarding part of this work for her is “the challenge of picking up readings I would not have thought to look at otherwise and understanding someone else’s perspective through the books and the authors.”

 Our whole community gets to benefit from the writers sharing their gifts and hopefully everyone will walk out of whatever they choose to attend a little bit inspired to follow their own passion projects in their own ways.

For someone who hasn’t attended before, Sara recommends looking through the website and remember, you do not need to purchase or even read the books to enjoy the discussion! There are so many amazing options to choose from. Your list may look completely different from mine!

“For over 20 years the Chippewa Valley Book Festival has been a staple in our community,” said Hollars. “Of all the book festivals across the state, this is one of the best.” You definitely don't want to miss it!

Walk-ins are welcome if space allows, but it is a gamble as events do fill up. Click here to register for the tapestry of literary adventures! (If your plans change, there is a link to cancel included in the confirmation email so that others have the opportunity to attend.) You do not have to read the book in order to fully enjoy the event! So come out, try something new, and maybe find a new favorite!

 

From Bedtime Stories to Bookshelves: An Interview with Ethan Luhman

by Yvonne Fletcher

 

When Ethan Luhman, a local father and pastor, started spinning stories to amuse his children during road trips or at bedtime, he never imagined what it would become. Now it is a beautifully illustrated book meant to be passed down from generation to generation, with silly stories full of sweet sentiment and valuable lessons.

 

Rusty Raccoon and the Sugar Bowl  tells the story of an adventurous raccoon exploring the forest with his friends to find black raspberries, make some mistakes, learn some lessons, and come away with meaningful memories. 

 

Ethan kindly took time out of his full schedule to share Rusty Raccoon and the Sugar Bowl with me. He and his wife, Sherry, worked together to share this thoughtful story with detailed illustrations with other families. Read on to learn more about the inspirations for this creation, the publishing journey, and what the creators hope for their readers in this abridged interview with Ethan Luhman. 

 

Yvonne Fletcher: Did you have favorite books growing up?

Ethan Luhman: I read a lot as a kid. There was a lot of Dr. Seuss, Disney, and Berenstain Bears. I don’t remember a lot of specifics. I remember that Where the Red Fern Grows was the first book to make me cry.

 

YF: What do you feel is the power of stories for all of us, but especially for children?

EL:  We all think in narrative. With technology we have become more and more removed from history and the story of life around and before us. We universally crave imaginative spaces. With technology, that world has been built by someone else so there are boundaries to that world. With inner narrative there are no limits. The internal story can draw us out of our own experience into what could be. It gives a chance to rethink the dynamics of our own relationships and what they could be.

 

YF: It seems that Rusty Raccoon and the Sugar Bowl started as bedtime stories for 3 little boys. What made you decide to put that down into writing?

EL: The first Rusty story I told was a bedtime story for my oldest child, who loves raccoons. He was scared to swim. I told a silly story about Rusty working through the fear of swimming  himself with some forest friends in the Red River. These tales can help kids overcome those things that are troubling them. Rusty Raccoon and the Sugar Bowl is about owning exploration and finding a sense of adventure. 

 

Kids today are in a different situation, for better or worse, but my brothers and I would wander freely and pick wild blackberries. Not to spoil the ending, but there is someone watching over them to keep them safe on the whole adventure. So kids in the book and reading along can have the joy of a shared adventure, even if it goes differently than expected.

 

On a long trip home one night, I was asked for a story and Rusty visited a donut shop. When I was done telling it, my wife said, “That was pretty good. You should write that down”. This was during Covid, so there was more time for creation then.

 

Sherry Luhman

It cannot be understated how helpful it was in the publishing that the illustrations were readily available from my wife. We had a baby on the way, so there was some rush in the first attempt. Those books arrived the same week as my youngest was born. We moved to the Northwoods and the area was so inspiring that we decided to try again to make the book exactly what we wanted. It took some time to find a printer that could provide everything that we wanted, the linen cover on hardcover and the goldleaf, etc. Having the support of the people around us with this project was so important because it can feel easy to give up some days.

 

YF: What has been the most surprising thing about making this idea of a book a reality?

EL: You don’t know what you don’t know. The attention to detail that you have to have cannot be underestimated. Being one-eighth of an inch off center can mess everything up. It’s that close. But it’s very special to find that someone is finding value in something you produced. I was surprised at how much that meant to me.

 

YF: It seems you’ve had an interesting publishing journey, beginning with a hybrid press and now self-publishing. Will you tell me about that please?

EL: The hybrid publisher that we went with first made things easy, but there were some things that we were really set on that they could not provide. It can be hard to sell something that you are not fully happy with and we wanted to really be behind what was put out. There were some hurdles in self-publishing like licenses and finding someone who was willing to print it just the way we wanted, but we were able to tighten the storyline and add new illustrations as well as make it exactly the way we’d envisioned it. Now it is the kind of book that would be passed down through generations. A Boy is a Boy by Ogden Nash is a whimsical, timeless book that has been passed down through my wife’s family. We were inspired by the classic look and story and that's what we wanted to put into the world.

 

YF: What do you hope children take away from reading this book?

“I hope that kids feel inspired to go on an adventure and feel ok about making some mistakes along the way as they learn and grow. I hope that parents are inspired to encourage their kids. ”
— Ethan Luhman

EL: I hope that kids feel inspired to go on an adventure and feel ok about making some mistakes along the way as they learn and grow. I hope that parents are inspired to encourage their kids. My wife is a very encouraging mother and she helped shape the voice of Rusty’s dad. She made him more encouraging and fun-loving. It’s a reminder of the kind of dad I had and that I want to be. We chose this Rusty story as the first publication because of its focus on father-son dynamics and the importance of honoring family.

 

YF:The book is so beautifully put together. Did the illustrations change the story in any way?

Sherry Luhman

EL: That’s a beautiful thing about being a husband and wife team. She had a full grasp of the story already. It’s not just a book to get through, it is full of  educational things like the detailed pictures of the plants with all of the scientific names and descriptions.

 

YF: Did anything change from the original ideas as the book was developing?

EL: I realized that I could do better after the first publication. This gave us the opportunity to refine the characters and add illustrations. Sherry grew as an artist and that journey is brought to life  in this book.

 

YF: What was it like collaborating as a married couple? Did it make things easier or did it add complications?

EL: Definitely both! For me it was easier. She may say that it was harder. We had each other to rely on. We had the same vision so that helped in working toward this goal. She really had this sense of beauty and cohesion for the end result and I didn’t have that in my head the way she did. I did the more technical things.

 

YF: Are you working on anything new now?

EL: Rusty Raccoon and the Donut Shop is in the works. It will probably also be self-published. It would be great to work with a traditional publisher but with everything that we’ve learned and the setup that we have, self-publishing is the more natural choice.

 

YF: What’s your favorite moment in Rusty Raccoon and the Sugar Bowl and why?

EL: The end! But I can’t tell you because that would spoil it.

 

Rusty Raccoon and the Sugar Bowl is available for purchase at The Luhman Collective | Custom Watercolor Pet Portraits & Nursery Art. The first 500 copies printed were signed by the creators and a few signed editions are still available. 

Featured Author of 12-Hour Writers Retreat Matt Cashion on Mentorship, Collaboration, and Re-Embracing Play in the Writing Process

Samantha Hasse

On Saturday, October 10th, 12-Hour Writers Retreat participants will gather for a day of guided writing exercises, freewriting time, and a live reading of their works. 

The Writer-in-Residence, Matt Cashion, will serve as a guide and mentor to the participating writers. Cashion is an acclaimed author and Creative Writing professor at the University of Wisconsin-La Crosse. He is the author of two novels, How the Sun Shines On Noise and The 13th Divorce (winner of the Edna Ferber Fiction Award), as well as two short-story collections, Last Words of the Holy Ghost (winner of the Katherine Anne Porter Prize), and How We Do Things Here, which was published in February of this year.

I had the pleasure of asking Cashion what he most looks forward to for the retreat, what collaboration means to him as an author, and how he approaches the writing process, especially during those “messy” first drafts.

Samantha Hasse: Your works seem to often feature a cast of characters with a diverse mix of personalities and perspectives. You are about to collaborate with a group of writers with different life experiences, interests, and work styles. How has building relationships with other creatives influenced you as an author?  

Matt Cashion: I need to be inspired by diverse perspectives and unique personalities and artists of all types whose distinct experiences and perceptions are different than my own. I love feeding off the collective energy that fills the air when like-minded creatives get together. I love listening and watching more than I love talking and “performing,” and I always end up feeling enriched by people who care deeply about making something meaningful from nothing—not for profit, but because the making of it itself is what we know best nourishes our souls.  

SH: You’ve lived in multiple places - Georgia, North Carolina, Oregon, and now Wisconsin. Has living in the Midwest influenced your writing?  

MC: When my wife and I moved to Wisconsin 20 years ago, everything was fresh and interesting and new, which allowed us to be good observers of what was unique about the people and the place. The Driftless area of where we live in western Wisconsin is especially unique; it’s a beautiful and special place. And the weather! Can we talk about the weather? There’s a lot of Wisconsin weather in my latest book, and there are many characters who (as in real life) are quick to help neighbors in whatever ways they can, including shoveling three feet of snow. 

The idea of “place as character” is an essential part of every story I write, capturing the complex personalities and histories of places. For a long time I didn’t feel qualified to write stories set in Wisconsin, but after 20 years, it’s home, so I hope I’m writing about Wisconsin with the kind of love and honesty and compassion one might employ when writing about any complex relationship that will continue to mature.

SH: What made you interested in featuring this event? 

MC: I’ve long admired BJ Hollars and the CVWG for creating such a genuine community of writers who are thriving in and around Eau Claire. I’m honored to have been invited to participate in the 12-hour Writing Retreat that I know will attract many talented and disciplined writers who are serious about improving their own crafts and even more serious, perhaps, about supporting and encouraging the work of fellow writers.

SH: What do you think makes a good mentor? How do you plan, or hope, to mentor other writers during the retreat? 

“My own mentors are great listeners. I try to imitate them in the ways I hear and see the specific strengths every writer is working with as well as the occasional challenges every writer is working to solve. I deeply respect the efforts of every writer who is invested in improving their craft because I know how humbling and challenging it can be. ”
— Matt Cashion

MC: My own mentors are great listeners. I try to imitate them in the ways I hear and see the specific strengths every writer is working with as well as the occasional challenges every writer is working to solve. I deeply respect the efforts of every writer who is invested in improving their craft because I know how humbling and challenging it can be. I avoid being too prescriptive in saying what someone should or shouldn’t do, so I listen to writers’ goals and encourage them to pursue whatever process works best for them. I’m an advocate for writers who (like me) encounter too many doubts along the way. Ultimately, I want to inspire writers to continue working on the stories they care most about, stories only they can write. In these ways, I’m both cheerleader and coach (in one outfit).  

SH: In your short-story collection How We Do Things Here, your characters are described as “mess-makers.” How do you approach mistakes and setbacks in the writing process? 

MC: I make peace with my own messy process, especially in the first five or fifty (give or take) drafts, when I’m trying to zero in on the voice and tone and real subject matter I’m working to locate as honestly and as precisely as I can. Which takes time. For me, at least. Trusting this process and cultivating the patience I know I’ll need is important as I consistently revise, delete, and develop while simultaneously (somehow) reminding myself to abandon any notion of perfectionism. I may also remind myself to re-embrace some notion of play I want to keep at the heart of what I’m doing that will keep me invested in the challenge of making something interesting for me, first, and maybe for a few readers next.

SH: Can you tell me more about the guided writing exercises? 

MC: The exercises I have in mind will allow us to surprise ourselves. I’ll encourage us to generate new material (or to continue working on old material in new ways) by expanding the skill sets we need to write with both vulnerability and imagination. I’ll encourage us to tap directly into our most meaningful experiences and write about them with a level of intimacy readers find rewarding because of the courage required to do so. And I’ll ask us to exercise our imaginations in ways that allow us to build empathy and create connection. There will be freedom and flexibility for writers to pursue what they find most meaningful. Along the way, we’ll play.    

SH: What do you hope that the other writers, and yourself, will gain from this experience? 

MC: Sharing a day like this with like-minded creative and supportive people will energize us all.  Some writers will walk away with new projects they’re excited to continue, some writers will find new levels of inspiration to continue what they’ve already started, and I anticipate walking away feeling deeply enriched from a community of writers who remind us all that the act of writing doesn’t have to be a solitary (sometimes lonely) undertaking. We’ll remind ourselves that we thrive best as humans when we come together to create and to share, and that when we leave, ultimately, we’ll feel excited to continue doing so.  

Though tickets are sold out, interested folks can join Matt Cashion and the Chippewa Valley Writers Guild for an open reading at the 12-Hour Writers Retreat at Forage on Saturday, October 10th at 7 PM.

Local Voices Revive The Renaissance In The Chippewa Valley


Yvonne Fletcher

Hear ye, hear ye! The stage is set and an evening of poetry, prose, and the many arts of the bard awaits you!

Bard’s Night is part of the Renaissance Revival, a four-day series of events hosted by local businesses Kaleidoscope Soul and Forage. The organizers, Allison Fine and Lori Borg, have put together two events for every day of the series, so there is something for everyone’s taste and availability. The Chippewa Valley Writers Guild is a proud supporter of the Bard’s Night portion of the programming.

It begins on Tuesday, Sept. 22 with a Flower Crown Workshop during the day and Bard’s Night that same evening. The following days contain yoga (The Royal Reset), a multi-course meal (Feast of Fools), a space for conversation and snacks (The Renaissance Round Table), an improvisational comedy show (King’s Court), local vendors at the Maker’s Market, and closes out with a drag show (The Revelry: A Royal Court Evening) on the evening of Friday, Sept. 25.

“Bard’s Night is a chance for local writers and performers to share their own written works or simply read something that resonates with them for the enjoyment of the audience. ”

Bard’s Night is a chance for local writers and performers to share their own written works or simply read something that resonates with them for the enjoyment of the audience. This particular experience is not open to musical acts, focusing instead on spoken word.

Renaissance-inspired costumes are encouraged but not required. Come however you are comfortable and listen to the lore in many forms. If you’re feeling brave, maybe even share one yourself.

No matter what kind of connection you're looking for, the Renaissance Revival’s array of events  has something to offer. From feasts to yoga to sitting around a table with snacks to chat, this four-day festival is all about finding ways to bring people together, with a collective step back into bygone days. The hope is that the Renaissance Revival can become an annual community event.

The idea began with behind-the-scenes conversations about community at the recent Eau Claire Jazz Crawl. The women discussed the shared challenges of finding a circle of belonging as newcomers to the area. They have brainstormed all sorts of fun activities meant to help others find that circle. Bard’s Night is one part of a series of events meant to inspire, encourage, and ultimately bring us together in a fun, supportive way.

As a transplant to the area in 2021, Renaissance Revival co-founder and owner of Kaleidoscope Soul, Allison Fine understands the importance of finding community. In searching for her people, she hosted many creative events, starting with gatherings to discuss issues surrounding death over cake called death cafes. It was something that brought people together and could be different every time, depending on who showed up.

“There’s always cake,” Fine laughed.

I suppose it makes the heavier moments lighter. Or at least sweeter.

 Both Fine and Lori Borg share a love of hosting social gatherings. The suggestion of adult-oriented Renaissance fair activities during a heartfelt exchange sparked all of the entertainment of the Renaissance Revival!

At 6:30 pm on Tuesday, Sept. 22, the doors will open for mingling and drinks. Guests are welcome to bring their own snacks as there will be no food for this event, with the possible exception of a bowl of tomatoes as a silly nod to the Renaissance-era treatment of acts that displeased the audience.

At 7 pm the stories begin.

Nine people have signed up so far, so there is still room for more. Fine herself will be reading her own work, a sonnet for modern times. Beginners are welcome. Fine shared her experience of sharing her work this way for the first time and hopes to see others take that chance as well.

Dr. Namji Kim, a professor of music from the university, plans to share some favorite Shakespearean moments. The acts are not pre-screened, so the evening promises surprises for everyone.

Advance sign-ups are available (read on to find out how!) and preferred as the organizers would like to have most of the roster set beforehand. The tickets are $10 per person and attendance is capped at sixty spectators.

Each performer will have three to five minutes to share their Renaissance-inspired wordcraft. If there is time left over, spontaneous participation may be welcome should an audience member suddenly be inspired.

The idea is to take a collective break from the hectic rhythm of modern living. It’s a chance to play dress-up and come together in a little shared whimsy. Fine hopes that people will walk away from the evening more joyful than when they arrived, having been reminded of the magic that surrounds us even in dark and confusing times.

“Throw on some fairy wings and read something,” Fine laughed.

Tickets for Bard’s Night Open Mic are available here.

If you would like to participate, contact Allison Fine at info@kaleidoscope-soul.com or through social media at Kscopesoul.

You can find the full Renaissance Revival lineup at  https://www.kaleidoscope-soul.com/renfaire.html.

Honoring an Icon: Bruce Taylor Receives First-Ever Literary Citizen Award

Audrey Westerberg

This month, the Chippewa Valley Writers Guild celebrated its ten-year anniversary at the Brewing Projekt. During this celebration, the Guild recognized Bruce Taylor as a foundational member of the Chippewa Valley writing community with the first-ever Literary Citizen Award.  

“The Literary Citizen Award is a way to recognize the longstanding work of a writer committed to uplifting the writers all around them,” says Guild director B.J. Hollars.  “Bruce fit the bill, and then some.”  

Taylor, a professor emeritus at UW-Eau Claire, former poet laureate, and prolific poet, is a pillar of the Chippewa Valley writing scene. To commemorate the occasion, we asked him some questions about his time in the Chippewa Valley. 

Audrey Westerberg: How did your relationship with writing and poetry begin? 

Bruce Taylor: I was always a voracious reader. The first writing I remember doing was when I was about 7. A novel, I thought, but actually 27 pages about a nuclear apocalypse where I led my family and friends to safety in the wilds of New Hampshire. Obviously way ahead of my times. 

AW: What were some of your experiences with other writing communities like before Eau Claire? 

BT: I went to a small undergrad school, so very few people had to be everything: actors, activist, politicians, protesters and writers. I started a repertoire theater group, where we wrote all of our own material. Also an “underground” magazine, Liberal Lit – remember it was the 1960’s—that had the distinction of being taken off the shelves by the chief of police. 

My grad school was at the time one of only 4 schools in the country offering an MFA. I chose it because it was the furthest away from my home in Boston. A small program, 10 poets, some very talented. One of the professors was Miller Williams, who became and remained my teacher, friend, mentor, and shining example. 

AW: You earned your B.A in Massachusetts, and your M.A and M.F.A in Arkansas. How did you end up in Eau Claire? 

BT: 1972 was a tough job market. I typed individually over 50 applications. I could not afford not to have job. Got three nibbles, one too close to home, two others: Stout and Eau Claire. I was too self-conscious at 240 lbs to wear a T-shirt that said ‘Stout’ so it was here. They told me not to unpack, since it was a one-year ‘gig.’ 

AW: What was the writing scene in Eau Claire like when you first got here? 

BT: Don't think that there was one, per se, but a couple of faculty members, Dick Kirkwood and Peg Lauber, were published poets and they nurtured and inspired many students. 

AW: How were you involved?

BT: I wrote and taught the first creative writing courses, had a hand in creating the creative writing and professional writing minor, and advised NOTA, which placed 2nd in its first year and 1st in its second in a national competition for undergraduate creative writing magazines. 

AW: How did the writing scene evolve during your time as an English professor at UWEC? 

BT: It grew exponentially: the once-a-month NOTA readings attracted more students and eventually faculty and community members. It spread to off campus. At one point, there were five separate open readings at five different locations every month. This included a ‘poetry slam,” offered by my former students, now local teachers, which were very successful and brought in a lot of younger kids. We began to hire more writers. Our graduates began to get jobs, publish and win awards and starting or joining other writing communities at other universities. 

AW: What do you try to explore through your work? 

BT: I don't know that I explore anything but I try to make good things full of utility and grace. 

AW: Is there a theme in particular that you find yourself coming back to? 

BT: Don't know about “themes.” It is challenging enough for me to try “to polish the ordinary until it becomes extraordinary and the extraordinary until it becomes transcendent.” I know how grandiose that sounds. I work with moving relations of sound and sense, of the concrete and the abstract, of vision and voice. 

AW: How has your work, or style, changed over the years? 

“The poet Nicanor Para said you should ‘try to improve on the blank page.’ I still try. ”
— Bruce Taylor

BT: The poet Nicanor Para said you should "try to improve on the blank page." I still try. AW:

AW: What are your current projects about? 

BT: Again, I’m not comfortable with a word like "project." Let’s just say I am still writing, less often and more slowly but "still." 

AW: And really anything else you’d like to address! 

BT: I have already skipped over too much, forgotten too much, was wrong too often. No sense compounding all that or this. 

Big Things Brewing at Barstow & Grand

There are some exciting developments over at Barstow & Grand; most notably, beginning with their upcoming 10th issue, the literary journal will pay writers for their published contributions. The annual publication is released in November, and submissions for their 10th edition are open until April 30th. The journal accepts works of poetry, prose, and hybrid texts from writers connected to the Chippewa Valley region and the broader Upper Midwest. 

Read on for an interview with Eric Rasmussen, founder and editor of Barstow & Grand, to learn more about what the journal is currently up to, and his plans for the 10th anniversary. 

Audrey Westerberg: B&G is able to start paying authors for their submissions now; why is this a priority for B&G? 

Eric Rasmussen:  It’s true with every creative pursuit—visual art, music, writing—but creativity isn’t valued anywhere near as much as it should be, and issues of subjectivity, and supply and demand, will likely always mean artists won't receive compensation equal to the value they bring to the world. But we can try to move things in the right direction! Barstow & Grand  doesn’t make any money, so it’s not an issue of sharing profits in a responsible manner. It’s more philosophical. Writers deserve compensation for their labors from their “customers”—readers, journals, etc.—and we are excited to shift to the right side of this issue. 

AW: How will this new initiative work?  

editor Eric Rasmussen

ER: We still have lots to figure out, but for issue #10, the first in which we will pay authors, we will offer $40 per published piece. Services like PayPal and Venmo make this process even easier than ever before. I’m sure there will be complications, but we shall do our best to figure it out. 

AW: We're approaching the tenth anniversary of B&G, are there any upcoming plans or events to celebrate? 

ER: B&G will be a part of the CVWG 10th anniversary party this April, and that’s really the focus. B&G wouldn’t exist without the CVWG, and I’m endlessly grateful that this project gets to be part of such an admirable organization. Later this year, we’ll also do our best to add a little pizazz to our 10th issue release party. That event is always in mid-November, and we’re currently discussing how to make it special! 

AW: Submissions for the 10th issue of B&G are open until April 30th. Is there anything you'd like to let potential contributors know? 

“There is no good reason NOT to submit. ”
— Eric Rasmussen

ER: There is no good reason NOT to submit. Even if you’ve never been published before, never written before, or never submitted work before. Even if we’ve rejected you in the past. Even if you don’t see yourself as a “real writer” and don’t think B&G is “meant” for you. As much as we’d like to, we can’t publish everything we receive. BUT, submitting your work for the first time or the five-hundredth time is step on your writing journey. You ARE getting closer to your goals, whatever they may be. That’s why we started this thing, ten years ago—to give our community’s writers a reason to keep striving. 

AW: And finally, when is the launch date for B&G's 10th edition?  

ER: November 18, 2026! 

Those eagerly awaiting the 10th issue can begin celebrating early at the Chippewa Valley Writers Guild’s 10th Birthday Bash at The Brewing Projekt on Thursday, April 16 at 6PM. We’re less than a week away!  

And remember, submissions for Barstow & Grand’s 10th edition are open until April 30th.  

 

Celebrating a Decade of the Chippewa Valley Writers Guild

Audrey Westerberg

The Chippewa Valley Writers Guild is turning 10 this April and to celebrate a decade of community writing, the CVWG is hosting a birthday bash at the Brewing Projekt on April 16th at 6PM.  The event will celebrate the people who helped us reach this milestone, in addition to presenting a very special award. Free food, drinks for purchase, free merch and brief remarks from longtime Guild members.  

Ten years ago the idea for the Guild grew out of B.J. Hollars’ inbox when, after receiving hundreds of emails from writers seeking support, Hollars founded the CVWG to fill that gap. Since then, the Guild has continuously evolved, steered by the needs of our community. While the Guild’s original programming centered on education-centered craft talks, the organization soon grew to embrace everything from radio dramas to the 6×6 Reading Series and the ongoing Rough Draft Reading Series. 

Perhaps most memorable of the CVWG’s array of events are its writing retreats, which, like the Guild, have also evolved over the years. Currently, there are two options offered: the 12-Hour Writers Retreat (the next one’s coming up May 2, hosted by Tamara Dean) and the annual Oxbow Writers Retreat, a weekend-long workshop hosted by the Oxbow Hotel. Both events are filled with guided exercises, workshops and time to free write in a supportive environment, and each is topped off by a live reading courtesy of participants.  

If you’ve been to a retreat then you’ve felt the atmosphere of warmth, openness and support—a kind of easy familiarity one can slip into, even as a stranger in a room of old friends. All the time and care that goes into curating these experiences is a labor of love. 

“There is so much that goes into creating an atmosphere that allows for creativity to flourish.”
— B.J. Hollars

“There is so much that goes into creating an atmosphere that allows for creativity to flourish,” Hollars remarked. “But the most important part is bringing good people together in a common cause. For us, that means lifting our writing to the highest level.”  

Like every event or resource the CVWG creates, the writing retreats are for everyone. No sample writing or portfolio required, just an open mind, a willingness to get involved, and the desire to hone your craft.  

“Even if people aren’t writers,” noted Pam Anderson, a longtime retreat participant and a recent addition to the CVWG Advisory Board, “there are lots of opportunities to be an audience member for aspiring writers.”  

A unique feature of the Guild is that anyone can take an active role. Anderson moved to Eau Claire, in part, to get more involved in the writing scene. Her story exemplifies the kind of people who keep this Guild going; people willing to lead their passion into action. Some of the best programming the Guild has undertaken was led by people willing to take the leap and get involved.  

Eric Rasmussen, founder and editor of Barstow & Grand, is another example of someone who embodies this ethos. “There are plenty of organizations around town doing good work for their members and for the community”, he said, adding, “but I would argue the most valuable ones are those that inspire people not just to spend energy bettering their own lives, but to invest in their neighbors and communities. The CVWG is a model of that type of organization.”  

What’s next for the Guild? 

“For me, it really depends on where our local writers want it to go,” Hollars said. “What matters most,” he stated, “is that the CVWG continues to feel like an inclusive and supportive place for writers. That's what makes the Guild work.”  

This organization has grown tremendously, in no small part due to the love and support from this community.

Come celebrate with us at 6 PM on April 16th at the Brewing Projekt. Grab some food, drinks, and Guild merch, all while celebrating our first decade. 

 

The Heart and History of "Chapters & Beyond"

Jamie Wolf

Some ideas brew for years. Others pop up because there’s a need and you think, “well, who else is going to do it?”

Chapters & Beyond was the second kind.

I’m Jamie Wolf, an author, entrepreneur, and community builder based in Chippewa Falls. My work has often lived at the intersection of storytelling and healing. After publishing my memoir, Putting Myself Back Together: From Broken to Healed After Abuse, I began attending literary events and connecting more deeply with writers in our region. What I noticed was this: talent was everywhere, but not always space. Passion surrounded me, but not always belonging.

I wanted to create something completely different and change the precedent of how these events are held.

Chapters & Beyond was born with a simple but powerful vision: I want everyone to walk into the room and feel, “I belong here”.

So, it’s more than a book convention. It’s an intentional gathering of community.

Founder Jamie Wolf

It’s for the writer who has never had a table before.

It’s for the reader who wants to hear from authors beyond the pages.

It’s for the artist and entrepreneur who want to be seen and valued.

It’s for people who have never seen themselves truly represented in literary spaces.

It’s even for families!

From the very beginning, inclusivity has been at the cornerstone of this event. It’s essentially the whole point. This means diverse genres, diverse voices, and accessible accommodations. It means a quiet room with weighted blankets and noise-cancelling headphones, a separate children’s activity space, and a remote writer catalogue so even those who cannot physically be there can still participate.

“It is so important to me to create such a welcoming literary space because storytelling has saved my life in many ways.”
— Jamie Wolf

It is so important to me to create such a welcoming literary space because storytelling has saved my life in many ways. Writing gave me a way to convey things I once could not name. Community has given me strength when I felt the most isolated in my life. And I know firsthand what it means to need a room where you feel seen. That is the lived experience that inspired Chapters & Beyond.

I hope attendees walk away with more than a signed book and a swag bag. I hope they leave with connection, inspiration…with new collaborations forming and a sense of creativity that feels stronger with support behind them.

I hope authors find this becomes a platform that feels supportive and safe, and that helps them grow. For vendors, I hope this is a space where their work is valued.

We are truly building something community-powered. We’re doing this through local partnerships with sponsors who believe in creative equity and care about accessibility and inclusion. We’re also asking for feedback to help shape the event into something for everyone.

This will not be a one-time gathering. This is a movement toward more inclusive creative systems in our region and beyond.

If you are reading this and wonder if you fit here, the answer is yes.

Mark your calendars for July 10, 2027, at the UW-Eau Claire Davies Center! We’re turning the page, together.

Thank you for being here for the start of it!

Poetry and Pi(e) Returns to Eau Claire: poets and community connect to explore what home means to them

This upcoming Pi Day (3.14), the L.E. Philips Memorial Library will host “Poetry & Pi(e): A Taste of Home.” The event will feature three acclaimed Wisconsin poets: Max Garland, former poet laureate of Wisconsin and author; Meghan Bennett, a local poet and educator; and Tiffany Rodriguez-Lee, current Director of Arts and Fellows for the Wisconsin Academy and former poet laureate of Wausau. Each poet will read their work, exploring what the concept of home means to them. And there will be pie. However, attendees must register in advance for this free event for pie calculation purposes. We don’t want to get our math wrong. 

Co-sponsored by the Wisconsin Academy of Sciences, Arts & Letters, “Poetry & Pi(e)” is an annual event where science, art, and community connect. Rodriguez-Lee describes the event as “a celebration of spoken word, the warmth of shared stories, and the literal comfort of a slice of pie,” emphasizing that the Academy is “dedicated to being the 'common ground'” and “creating spaces where 'home' isn't just a physical address, but a shared responsibility of memory and belonging.” 

This year’s Poetry & Pi(e) is part of the Wisconsin Academy’s larger series “Finding Home,” an exploration of the concept of home in celebration of the United States’ 250th anniversary. Throughout the series’ various events, presenters explore what “home” means to them.

Poetry and Pi(e) is the poet’s time to answer this question.

Max Garland’s homemade chocolate pie recipe.

For Bennett, “home and poetry have always been synonymous,” she explains.  Her poems continually explore if home is “a place, a person, or a feeling.” She adds: “What do you do when those places or persons or feelings change or move away?” 

Through her writing, Rodriguez-Lee delves into the complicated in-between of defining one’s diasporic home. “As a Puerto Rican writer,” she remarks, “my work is a constant dialogue with a home the exists both in the blood and across an ocean”. She continues, “Poetry is the way I connect to my roots while living thousands of miles away from it, creating a space where my multiple homes can finally live together.”

But for some of these poets, what matters most is that their audience can find a part of themselves reflected within their work.

“Poetry & Pi(e): A Taste of Home” is an opportunity to engage and connect with our Wisconsin community, sharing the beauty of poetry and the simple pleasure of pie. Bennett is looking forward to French silk, peach pie is calling to Rodriguez-Lee, and Max Garland says chocolate pie is the only “legitimate pie” in his home of eastern Kentucky , though occasionally pecan pie got smuggled in.” (Check out the photo above for his mother’s original recipe!) As for me, I can’t decide! 

Please register online prior to the event, then join us on March 14 at 4pm at L.E Philips Memorial Library to hear how these poets have translated home into poetry. 

Melissa Faliveno To Present "Hemlock", Her Debut Novel, at Dotters Books 

Audrey Westerberg 

On Wednesday, February 18, at 6:15pm, essayist and novelist Melissa Faliveno will host a reading and discussion from her debut novel, Hemlock, at Eau Claire’s Dotters Books.

Hemlock is a queer and unmistakingly midwestern gothic novel, one centering on Sam— a tenuously sober Wisconsinite—who returns to her family’s abandoned Northwoods cabin in the town of Hemlock, a few years after her mother’s disappearance. As Sam settles back into her woodland home, her grasp on sobriety and reality begins to slip. And as her brief stay prolongs, an ominous change takes root within her body, and Sam is forced to confront long buried truths about her mother, and herself. 

Midwest readers will find familiarity in Hemlock’s pages: from the billboards speckling long stretches of highway, to the dense forest pines, and in the crisp chill of morning. These simple details, seemingly plucked from hazy memories, are an homage to the Northwoods. 

Faliveno knows the terrain because she grew up here. As a native Wisconsinite, she drew much of her novel from her own experiences as a queer person in rural Wisconsin. But the book explores other themes, too: carrying an inheritance of mental illness, negotiating identity with expectations, and the complicated knot of alcoholism within Midwest culture 

“I think that there’s also a culture in Wisconsin and in the Midwest of silence and not talking about problems”
— Melissa Faliveno

“I think that there's also a culture in Wisconsin and in the Midwest of silence and not talking about problems… And so I write—and in many ways like say things—that I can't say out loud, that I don't know how to say out loud. That I've never known how to say.” 

Hemlock delves into the unsaid and nestles into the uncomfortable. It’s in these liminal spaces that Faliveno explores the idea of home and what can make one’s home turn on them—grappling with questions of belonging and safety within a queer body. 

“It’s this interesting paradox in the Midwest, people who are queer… we stick out. There’s this dichotomy of both safety and threat; coming home versus being in a place that might try to harm you.” 

Exploring these personal themes in her writing is what Faliveno found interesting and made finishing Hemlock possible. 

“I wanted to write something that I hadn't seen much of,” Faliveno explained. “I'm always returning in my work to intersections of Midwestern landscapes and the body, gender, queerness, class.” 

Though Faliveno noted, her writing progress is not linear. She wrote Hemlock on and off over several years, alternating between other writing projects and playing music. From conception to book release, Hemlock took six years to complete. 

“I think that writing is a long game [and] publishing is a long game,” Faliveno remarked.  “What separates people who want to be writers and people who become writers are [that writers] stick to it and are writing things that compel them.” 

Music, she emphasized, helped inspire her during blocks. In particular, “I Wish I Was Sober” by Frightened Rabbit, played on repeat in her head as she wrote Hemlock, helping her get into the headspace of Sam. 

 “It helped me get into the embodied feeling of being inebriated and wanting to be better—wanting to get better,” Faliveno said. 

The event at Dotters Books this Wednesday will be a chance for local writers and casual readers alike to hear a segment of Hemlock read aloud, and grab a signed copy.

The Oxbow Writer’s Retreat Writer-in-Residence Maggie Ginsberg on Mentorship and Knowing Yourself

Credit: Jolene Dombrowski

Elva Crist

From January 31 to February 1, talented and driven writers from the Chippewa Valley literary community will gather for two days of craft, connection, and creativity at the Oxbow Hotel in downtown Eau Claire for the annual Oxbow Writer’s Retreat.

“One of the joys of this retreat is creating a space that allows various writers in residence from across the region to take turns hosting the experience for our guests,” says BJ Hollars, the director of the Chippewa Valley Writers Guild.  “It provides a new experience year after year.”

Each writer participating in the retreat will have the opportunity for a 15-minute mentoring session with the Writer-in-Residence, Maggie Ginberg. Ginsberg is a renowned Wisconsin writer of both fiction and nonfiction, who has been practicing her craft professionally for twenty years. Like many of the writers in the Chippewa Valley, Ginsberg has a propensity to writings of place, making her the perfect artist to lead this retreat.

Looking ahead, Ginsberg foresees a diverse range of experiences at the event, thanks to its customizable mentorship format, which sets the workshop apart from many others.

“Everyone needs something different,” Ginsberg remarked. “Everyone is at a different spot in their career or their practice. So, I plan to engage in writing prompts or exercises that are customizable, that meet everyone where they are.”

In keeping with this philosophy, Ginsberg emphasizes the importance of reflecting on one’s own experience, goals, practice, and reasons for investment in this time, rather than being concerned about meeting external expectations.

“The best thing you can do for yourself is learn your own brain,” Ginsberg says. “Learn your own process instead of trying to fit into someone else’s box.”

While the CVWG hosts a variety of writers' retreat experiences, the Oxbow Writers’ Retreat is unique in that it has an overnight component, which allows for a little more sustained fellowship and creative activity.”

Ginsberg does not underestimate the importance of mentorship and literary community in such an inherently solitary pursuit as writing. She remarked that community relationships with other writers, via mentorship, reading, collaborations, and workshops, have been pivotal in her development as a writer, in terms of craft and emotion.

“It’s not just about trying to hone my skills as best I can, but also feeling less alone in it can be a really important part of the job.”
— Maggie Ginsberg

“It’s not just about trying to hone my skills as best I can, but also feeling less alone in it can be a really important part of the job,” Ginsberg reflected.

Ginsberg says that to forge a vibrant and strong literary community, the most important action that can be taken is reciprocal support and inspiration, the kind that will flourish at an intensive and collective pursuit like the retreat.

Ultimately, it is the love of art and of stories that brings all of us together as writers and readers, at the Guild and well beyond.

Ginsberg recognizes this, believing that art can serve as a balm for the soul and for society.

“There has never been a more important time to make space for art, whatever that looks like in your life,” she says.

Through the retreat is full, join Maggie Ginsberg and the Chippewa Valley Writers Guild at the Oxbow Writer’s Retreat celebratory reading on January 31 at 7PM in The Gallery.

Epistles to an Empty Ear: Nickolas Butler in Conversation w/ Matthew Mabis of 'Letters to Matt LaFleur'

Credit: B.J. Hollars

“Every time autumn rolls around, this part of me comes back to life.”
— Matthew Mabis

Wisconsin native and Eau Claire resident Matthew Mabis returns with the second volume of his maverick ongoing epistolary project, LETTERS TO MATT LaFLEUR (published by Heron Press). Mabis graciously sat down (virtually) with Nickolas Butler for this interview. Featuring 35mm photographs by RT Vrieze of Knorth Studios.

Q: I might be your number one fan. I love your LETTERS TO MATT LAFLEUR books; everything about them: the obsessive attention to detail, the sense of humor, that fact that your books can live on my shelves as something more than a press-guide, but rather, as an organic, human glimpse into not only what it means to be to a Packer fan, but also a Wisconsinite. Describe your thought process before you wrote your first letter. Did you know that this would become a weekly "practice"? Could you imagine publishing the letters as a book?

I'm blushing. You're too darn sweet. Lucky to have you in my corner. Before that 2022 season, I had already decided that I wasn't going to coach for the first time in my teaching career. Pretty big deal for me. I had been involved in organized sports as a player, a volunteer, or a coach since I was in preschool. If we're counting backyard touchdowns against imaginary defenders, I've been around the game of football for over 35 years. Every time autumn rolls around, this part of me comes back to life. So, what do I do with all this pent-up football energy? I figured that writing a weekly letter would do two things: 1) It would scratch that X's and O's itch, and 2) It would hold me accountable to do something else I love--writing. I always planned on sending a season's worth of letters, but I never imagined these would end up in a book.

Q: LETTERS TO MATT LAFLEUR is in no way a traditional publication. How did you find your publisher (Elizabeth de Cleyre of heron press)? Can you describe your publishing experience?

A crew of folks was down at the Joynt watching a game, and the conversation floated into my letter-writing. Elizabeth got a kick out of it and followed up with a suggestion to toss the letters and some photos into a collection. It was my idea to pester Coach LaFleur, but it was all Elizabeth's idea to assemble this goofball content into a publication. And she's been an incredible advocate and collaborator throughout the process. We got RT Vrieze on board, and he went full design wizard mode on this puppy. He’s so damn creative and wildly talented. I couldn't be more grateful to be on a team with these HOFers.

Q: Let's talk about your writing process. Do you draft these letters? That is to say, are you editing the letters? Do you ever start over? How much time has elapsed between the game in question and the moment you sit down to write The Frenchman?

You know better than I do that writers can be obsessive creatures. This process unlocked something that made me less neurotic about writing the "perfect" draft. Best to trust the first thought that feels halfway decent and see it through because the clock's ticking. I've got to have the thing in the post before the week gets away from me. And I find it's always helpful to write on the typewriter first. We've all become word-processing machines, so our fingers tend to work as fast--or faster--than our brains. Writing on the typewriter forces the rhythm into a slow groove that gives your head a chance to keep up with your hands. Sentences evolve as you type them, and when you finish them they feel more authentic, so it saves a lot of rewriting. Once I have the first draft done on the typewriter, I retype it digitally. It gives me the chance to rework and reword if needed, and it's an easy way to log a digital copy of the letter. Then it's back to the typewriter for the final copy. When I'm done, the envelop goes through the typewriter. After a game on Sunday, I usually spend Monday dissecting film, box score data, and post-game media. Then I start the writing process on Tuesday and finish by Wednesday or Thursday. 

Q: Have you always been a letter-writer? Do you have pen-pals?

My buddy Brendon Hertz is a kindred spirit. I love the way he sees the world, and he has such passion when it comes to expressing that vision through his photography and letter-writing, among other things. He's always been a helluva dedicated pen-pal to those he loves. I followed his lead and got behind the typewriter years ago, and a handful of folks have gotten mail from me over the years. Nothing says, "I miss you," or, "I love you," or, "Why the hell are you running a cover-2 shell look on 2nd & 1 against the Browns?" like writing a letter.

Q: Who is your favorite all-time Packer and why?

C'mon, brother. What the hell kind of question is that? If I had to choose, I would probably say Jerry Kramer. He's an author. I got a copy of Instant Replay when I was a little kid, and I reread his diary entries every season. The guy won five championships and two Super Bowls. He's a HOFer. Plus, he made 29 field goals in his career as an NFL guard. Legend.

Q: Do you have a favorite sports writer? If so, who?

Not a dude known for his sports writing, but I have to go with David Foster Wallace. Shout out to my boy Hertzy again here. He gave me a copy of Both Flesh and Not years ago. Wallace's NYT essay "Roger Federer as Religious Experience" is an all-timer.

Q: I don't really think there's anything shameful about Packer players bundling up against the cold. A Rodge, for example, was often seen in an ill-advised white turtleneck. What's your take on this hot button issue? Long sleeves and thermal underwear? Or, skin & snow, baby?

Who wants to be cold? Have you seen Planet Earth? Even those “Ice Worlds” creatures hate the cold. How do you think those lost baby emperor penguins felt when their eyeballs froze over and they lost track of the huddle? I'll tell ya this much--they didn't look TOUGH. Give me every damn layer I can fit under the pads, please.

Q: When I think about this particular Packers season (2025/2026) I came to the realization that despite his vaunted record (73-39-1 // .650 winning percentage as of this interview) The Flower seems like the most obvious scapegoat should the season go sideways (knock on wood it does not). The Pack isn't going to part ways with Jordan Love. Or Micah Parsons. Or Josh Jacobs. Other than their offensive line, the squad seems fairly healthy. Can you conceive of Next Level Gutey (that's a Paul Allen reference, if you need it) parting ways with LaFleur? Or at the very least, restricting his allowance for waxing, electrolysis, threading, plucking, etc?

With all the pieces now in place, the window is wide open. If we do not make a Super Bowl appearance in the next 3-5 years, it would not shock me to see NLG toss The Flower in the compost bin. I have faith in our coach, but some of the ongoing game management decisions (if you can call them decisions) could be the death of him. He’s a brilliant offensive schemer, but he sure looks dopey at times when it comes to building a drive or counting seconds on the game clock. It feels like he shrinks in the big moments. One Super Bowl ring would change that. I want that for him.

Q: After a coach has experienced the kind of success that LaFleur has, how does he improve? Here I'm thinking about someone like Andy Reid, who coached in the NFL for a long time at a very high level without winning a Super Bowl... Did Reid's coaching improve post Donovan McNabb? Or did he simply have the luck of working with Patrick Mahomes?

Reid’s always been a genius, but he’s gotten to the point of his career that the game is never outside his scope, even in the most chaotic game situations. Football is chaos, and he’s learned to thrive in it. He’s coached his players to do the same, so it’s no surprise that Mahomes has accelerated maturity and confidence on broken plays and off-platform throws. His coach has imparted him with decades worth of football savvy. LaFleur’s a damn good coach, and he will have a long NFL career like Reid has, but he needs to grow out of coordinating and into head coaching if he’s ever going to see the game from 30,000 feet like Big Red. He can still design the offense, maybe even call the plays, but at a certain point he will have to balance those duties with a more expansive view of the game. Or just get lucky enough to find a guy like Spagnuolo to run his defense.

Q: What is your ideal way to enjoy Green Bay, Wisconsin and Lambeau Field. Let's say the Packers are scheduled for the afternoon or evening. What do you eat? Drink? Who do you party with? Where?

When my buddy Trevor Peterson got his season tickets a few years ago after waiting damn near thirty years, he asked me about splitting the tickets each season. No brainer. He and I roll together, and we’ve gotten some fun traditions going. If we get an early fall game, we camp out just north of GB. Over the years, we’ve done a lot of overnights in Wausau to cut the drive in half and save some money on hotels. Hit me up for suggestions on how to get the most out of Wausau. But the tailgate spot is always the same—Uncle Doug’s. Not my uncle, although he became one to me. He’s Vold’s uncle. His house is on Shadow Lane, as in the shadow of Lambeau Field. All the backyard pics in the book are at his place. He was always such a welcoming host, quick with a handshake and a joke. He brought people together on game day at the heart of the action, opening his home for others to experience the unique glory of small town professional football. He’s no longer with us, but he passed that legacy on to his family. I’m honored to be a part of the Packers family tradition at Doug’s. Part of that tradition is Vold’s ma, Jane, preparing a spread that would make Gilbert Brown shed a joyful tear. I gotta have a game day bloody, and a little something on the grill with a pile of kraut gets me in a green and gold state of mind. But I’m a plant based dude, so I have some non-traditional tailgate ingredients. Non-traditional but conventional.

Q: At the beginning of this season, I felt like this team might just be destined for another NFL Championship. The defense was flying around the field with a kind of speed and tenacity I couldn't really recall since Clay Matthews was drafted. But in the past two or three games, watching the Packers win has felt somewhat disappointing. And, at this point in the season, the Lions, Bears, and Vikings are all looking, frankly, competent to good... Tell me some good news, Mabis. Tell me our team is just temporarily mired in an early season malaise that will most certainly lift.

Our team is just temporarily mired in an early season malaise that will most certainly lift. I hope. Glass half full—we’re 3-1-1 and we’re playing some dumb football, so we will be a force when we finally play four quarters of cohesive ball. Glass half empty—our bad habits get more ingrained the longer we play this way. We have the talent, and we have the coaching, but if we don’t clean this mess up and start executing we could be entering a world of pain.

Snag your copy today!

Breaking out of the Box: Author Christy Wopat on Labels, Honesty, and Overruled

Chloe Stromberg

In Christy Wopat’s recently released middle grade novel, Overruled, she highlights the importance of adults looking beneath the surface when it comes to the behaviors of students. Christy also wrote the award-winning memoir, Almost a Mother: Love, Loss, and Finding Your People When Your Baby Dies, and other books on the grieving process.  

In her latest book, Overruled, Mac faces the struggle of being consistently labeled as the “bad kid” throughout elementery school; he must grapple with false accusations of his behavior and character. One day, his close friend becomes injured at the park and is blamed as a result. Mac makes attempts to prove his innocence through a class mock trial. Overruled explores themes of being put in a box and the consequences of that. 

Christy has been an educator for over 20 years and has been able to channel the voices of former students in Overruled. While she is not currently teaching, her 14 years of classroom experience with middle schoolers and fourth graders have given Christy real-life insight into what kids like Mac truly go through. While the character Mac is loosely based on one student in particular, Christy explained that she had many students who struggled to express themselves healthily. 

“When I was teaching, I would try to tell the students that all emotions are okay, but you have to show them in the safest way possible.”
— Christy Wopat

“When I was teaching, I would try to tell the students that all emotions are okay,” Christy shared, “but you have to show them in the safest way possible.” 

Overruled unpacks the misconceptions about what is really going on when students misbehave. Christy hopes to share a message with adults and teachers about how they handle these situations. She encourages educators to take on a role of curiosity and empathy when it comes to students exhibiting unruly behavior.  

“I had this student in my class a bunch of years ago, and the other kids knew that he had this, like, temper and so they would secretly push, and push, and push until he exploded, and then he would get in big trouble. It became kind of like a game for them.” 

Christy was disappointed by these dynamics and never forgot them.

“I actually saw it with my own eyes.  And I felt so bad for this kid who nobody believed.  He was like, ‘they’re doing it to me.’” 

When we put labels on kids, it can make them feel that they must adhere to those labels and are unable to break free of them or grow into being their own person. Christy longed to help students in difficult times during her years of teaching, despite the difficulties she faced.  

“It’s so hard, but, try to see what’s underneath the behavior,” Christy says.  “Because you can get really caught up in just ‘fixing’ the behavior or trying to get the student to conform to what you want. But that’s sort of like, a band-aid, if you don’t really know what is causing it.” 

As a teacher, Christy continues to challenge herself to take her own advice.  Moreover, she had made the decision to “love every single one of my students even if I didn’t like them very much.” 

This improved the way she cared for her students. The careful attention she pays extends to the teaching methods she made available for educators in the process of writing this book. In addition to sharing a compelling story with readers, Overruled also provides educators with a question guide at the end of the book. As Overruled confirms, boxes are meant to be broken.

Make sure to check out Christy’s work and grab a signed copy of Overruled today! 

10 Book Recommendations for Winter Reads from Dotters Books

Elva Crist

Each year in the quiet period before the rush of the holiday season, Margaret Leonard of Dotters Books in downtown Eau Claire takes time to compile a list of her top book recommendations and share them with the Chippewa Valley community. Read on to discover ten of her favorites.

1. Funny Because It’s True: How the Onion Created Modern News Satire by Christine Wenc

In this book, author and former Onion staff member Christine Wenc recounts the origin of one of Wisconsin’s greatest inventions: The Onion, a revolutionary satirical news publication that has “changed the face of news satire” in the words of Leonard. This nonfiction piece offers a rare look at the humorous side of the media cycle.

2. Minor Black Figures by Brandon Taylor

One of the most talked about books of 2025, Minor Black Figures by Brandon Taylor follows a Black artist navigating art and its relationship with race in the American art community.

One of Leonard’s most enthusiastic recommendations, she sees this book becoming a modern classic for its capacity to inspire reflection and critical thought.

“Brandon Taylor is one of the best authors writing today,” says Leonard. “Not only does he do an amazing job of writing a character who is a visual artist, his questions about art, art-making, and identity are necessarily complicated and never quite answered. He expects a lot of his readers and I am delighted to rise to the occasion. And I was surprised and delighted that the book ended in a hopeful way. One of my favorites this year.”

3. Ginseng Roots: A Memoir by Craig Thompson

Written by rural Wisconsin writer Craig Thompson, Ginseng Roots: A Memoir explores global relationships through the story of ginseng farmers in Wisconsin. A graphic novel, the art communicates emotions that words never can and offers a change from the typical text-based memoir. At once personal and sweeping, this new creation from a celebrated memoirist is necessary reading for anyone curious about the webs that globalization and agriculture can create.

“This book weaves his own story with the story of ginseng as a crop, the shift from family agriculture to industrial agriculture, and the role of laborers in our society,” Margaret says.

4. 84 Charing Cross Road by Helene Hanff

In this epistolary classic, Helene Hanff compiles her correspondence with a London bookseller that lasted nearly two decades and contains a vast scope of literary and human experiences.

This book was first recommended to me by a book shop owner in River Falls, WI, and I now read it at least once a year, so I was perfectly delighted when Leonard pulled it out of her stack of recommendations at her annual book recommendation event. It seems that this is a favorite of book lovers everywhere.

5. Enter Ghost by Isabella Hammad

In the novel Enter Ghost by Isabella Hammad, an actor returns to her home in Palestine’s West Bank, and begins work on a production of Shakespeare’s Hamlet, all while rediscovering her relationship with her homeland. One of Leonard’s favorite books of this year, she commended its intelligence and beautiful writing.

She described it as “all about freedom of movement and borders and the arbitrary boundaries we place upon ourselves and those around us.”

While this book is beautiful in its specificity of location, its themes and questions that it asks about the world are sure to enrich the mind of any reader.

6. Is a River Alive? by Robert MacFarlane

While this work of creative nonfiction is written by renowned British nature writer Robert MacFarlane, it has a relationship with a regional treasure, the Minneapolis-based publishing house Milkweed Editions - MacFarlane spoke with Milkweed-published author Nicholas Triolo at the house in an event on his book tour, and has collaborated with Robin Wall Kimmerer, the author of the much lauded Braiding Sweetgrass.

In a region defined by its waterways and river valleys, this global text contains local significance. Leonard described the book as asking the following questions:

“What if a river was a living being with legal status and protections? What if it held the same place in human imaginations as other humans or even animals?”

In a time when our rivers and streams are under more threat than ever, texts that ask such questions are critical.

7. Turtle Island: Foods & Traditions of the Indigenous Peoples of North America by Sean Sherman & Kate Nelson & Kristen Donnelly

If one thing is universal, it is the love of food, especially in the cold and dark days of winter in Wisconsin. And nobody knows the recipes of fantastic food grown right here than the Indigenous people who've lived here for millennia.

Leonard says “This is a completely amazing work of food writing and recipes, journalism, cultural study, and record of Indigenous tradition through all of Turtle Island - from the Arctic Circle down to Oaxaca. Really stunning in every way.”

Sean Sherman, the author of The Sioux Chef’s Indigenous Kitchen, is one of the minds behind this creation, which is sure to become a necessity on any food-loving American’s shelf. Lean into your love of your home and continent by exploring the food traditions of the people who have known and stewarded it for ages.

8. Endling by Maria Reva

A unique take on the journey in literature, this tale of an unconventional fellowship of women offers a unique look at life interrupted by catastrophe; in this case, the invasion of Ukraine by Russia in 2022.

“This book is so incredibly inventive and smart and funny and entirely heartbreaking,” says Leonard. “Maria Reva is absolutely an author to watch. Amazing.”

9. Sea of Grass: The Conquest, Ruin, & Redemption of Nature on the American Prairie by Dave Hage & Josephine Marcotty

Folk in the Upper Midwest are no strangers to the beauty of the biodiversity of prairieland. In this remarkable hybrid of history and science, two Midwestern science journalists transform their passion for this remarkable ecosystem into a call to action to protect this biome with as much biodiversity as a rainforest, and even closer to disappearance.

10. Hope in the Dark: Untold Stories, Wild Possibilities by Rebecca Solnit

It is no secret that the world seems uncommonly dark and uncertain. In this book Rebecca Solnit recounts the times when people have fought against the darkness – and won.

Leonard describes it as a “balm for troubled times.” Regardless of the time or the opinions of an individual, we all deserve to know that things can in fact change and change for the better.

"American Birkebeiner": Jerome Poling on His New Book, the Birkie, and the Beauty of Skiing

Elva Crist

Every winter, early on a February morning, the highway outside of the small town of Cable, Wisconsin, is unusually crowded with cars. As exhaust rises from the still vehicles, thousands of skiers wait in the cold to start North America’s largest cross-country ski marathon: The American Birkebeiner.

This is the picture that Jerome Poling paints in his new book, American Birkebeiner, which documents the history of this legendary race since its origin to the present day, when the event and the community that has sustained it are stronger than ever.

Poling started reporting on the Birkebeiner (also known as the Birkie) as a journalist in the early 1980s and quickly became enamored with it.

“The more I reported on it, the more I thought, ‘Man, it would sure be fun to be a part of this, because it looks like a really great challenge,’” Poling explained. “I love the event itself. There is so much positive energy around it. I love the sport. It's like a blue-collar sport in the sense that you really have to work for everything you get. If you go down a hill, you've had to climb the hill. It's a sport where you don’t have anything given to you. It’s all you out there.”

The American Birkie is the most difficult cross-country skiing marathon trail in the United States, spanning over 30 miles of trail from Cable to Hayward in the north woods of Wisconsin. The trail is packed with curves and hills, and the challenge of speeding through these obstacles in such a large crowd is a formidable athletic challenge.

Birkie Start, 1973

Poling has raced in twenty-five Birkies, making him a member of an elite group called the Birchleggers. The distinction is given to skiers who have participated in at least twenty races.  Poling has taken this achievement to another level, simultaneously skiing and reporting on the race for many years.

Although the Birkie began only a little over a decade before Poling began participating in it, and thus his experience encompasses much of race history, the origins of the race are much older.

A large portion of the book is focused on the creation of the race by the founder, Tony Wise, a Norwegian American who, in 1973, was inspired to create this race by the Birkebeinerrennet, an internationally significant Norwegian ski race. It began in 1932; however, its roots date back centuries, to 1206, when according to legend two warriors rescued the young heir to the Norwegian throne by skiing over the mountains.

Through extensive research, Poling discovered many other stories of the Birkie. This research included over sixty personal interviews with everyone from Tony Wise’s daughters to a Norwegian academic to the first person to set the track in 1973.

In addition to these invaluable conversations, Poling also spent copious amounts of time delving into the Wisconsin Historical Society and Birkebeiner archives, as well as personal collections.

The information unearthed through this research reflected the years of community and positivity that Poling has experienced as a racer.

“You feel like you are a little part of a brotherhood or a sisterhood part of a community of people who are enjoying not only winter but doing it in a special way.”
— Jerome Poling

“You feel like you are a little part of a brotherhood or a sisterhood part of a community of people who are enjoying not only winter but doing it in a special way,” Poling said.

Another iconic element of the sport is the famous ending on Hayward’s Main Street. Many of the experienced skiers that Poling interviewed called it the best ending in the sport.

It is this finish, coming after the most difficult marathon trail in North America, that helps to foster the competitive nature of the race and draw skiers from well beyond the Upper Midwest. Each year, competitors come from most states and many countries around the globe.

“People like me who are just average skiers, you're never going to see the winner or anything,” Poling said, “but it's cool thinking there’s some Italian or American Olympian up front and they are battling it out to win this thing, and we’re part of it.”

This internationalism, and well as the immigrant culture which built the cross-country skiing community in the Upper Midwest, is celebrated on the International Bridge, which is lined with the flags of numerous nations. It is also one of Poling’s most treasured memories from the race.

“As a skier, when you crest that bridge, you go up that little knob, you get to the top and just for a moment, you take a look at Main Street in front of you feel like ‘Ah, this is it.’ It's a beautiful sight.”

The images of the race play just as much of a role in American Birkebeiner as the written narrative. Much of the book is photographs of the Birkebeiner throughout the years, from classic race pictures to rare archival findings.

A large part of the power of the Birkie is its ability to inspire a great love for skiing, for both its visual beauty and athleticism.

“It gives you time to think,” Poling says. “You’re enjoying nature, but you’re also doing it at your own power.”

The Birkie, and skiing in general, encourages people to embrace the nature of Wisconsin and its fickle weather, which Poling sees as an integral part of the race.

“Too many of us dread winter around here,” he says. “And we shouldn’t. We live here.”

The Birkie has had a strong ripple effect, spreading this love of winter and skiing far beyond the north woods. Many people wanting to train for the Birkie have created networks of ski trails all around the upper Midwest.

The Chippewa Valley is a significant part of this web of American Birkebeiners. Poling described how Karl Andresen, a Norwegian immigrant who taught Political Science at the University of Wisconsin-Eau Claire for many years, began the trail system in the Eau Claire County forests, inspired by his experience at the race. Andresen is considered a Birkie Founder, a skier who participated in the first thirty Birkies.

The valley’s legacy does not stop there. Ernie St. Germain, a University of Wisconsin-Eau Claire graduate, is the only person to have skied each of the first fifty Birkebeiners. He retired last year after his fiftieth race and is renowned amongst the race community.

Poling and American Birkebeiner will make an invaluable addition to this connection between the Chippewa Valley and the Birkie. He integrated his perspectives as a skier, writer, and historian to create a narrative made great for his contagious passion for the Birkebeiner and the community that it fosters.

“The universe was telling me it’s time and you can do it. I felt that I had the skills and enough love for the race and the background,” Poling said. “I felt it needed to be done.”

Poling was greatly supported by The American Birkebeiner Ski Foundation, as well as the Wisconsin Historical Society, whose press is publishing American Birkebeiner. At the request of the author, a portion of the proceeds will go to the foundation, in order to support the continuation of this great Wisconsin tradition.

Above all, though, Poling remains focused on the core of the Birkebeiner.

“That's the beauty of it,” Poling said. “It's the challenge and the reward at the end. Feeling the accomplishment that you've finished. Put yourself to the test and succeeded.”

Join Jerome Poling in Cable on Saturday, November 29th, for the launch of American Birkebeiner, which can be purchased at Dotters Books. He will also read as part of a CVWG and Waldemar Ager Association co-sponsored reading at the Chippewa Valley Museum on February 10th.


The CVWG Brings the “Joy” This Holiday Season

Chloe Stromberg

It’s a frigid and windy night. The fury of ice whipping into your face cannot be tamed, as you struggle to take another step. You can feel your hands numbing, and your sensations fading. The gloves and hat you’re wearing prove to be useless. Searching for some relief from the cold, you see it; a sign lights up with the words, The Pablo Center at the Confluence. Stepping in, you hear the sweet melody of holiday warmth, accompanied by prolific words that feel like a perfectly warm hug. A saving grace from the harsh atmosphere of which you came. You now see why it is only the Chippewa Valley Writers Guild that can truly bring Joy to the Word. 

If you’re looking for a fun outing this winter, the CVWG is here to provide a mix of stories paired with cozy music. This live event is just the thing to lift your spirits this holiday season! Enjoy a combination of holiday storytelling from performers, Ken Szymanski, Patti See, Justin Schenck, and Jerrika Mighelle paired with the sweet melodies of holiday tunes brought to you by the Uke Klub. 


I asked Joy to the Word storytellers Patti See, and Ken Szymanski to speak about their past and present involvement with Joy to the Word.  

Patti See began by giving us a sneak peek at the piece she is working on in preparation for the event. Her story addresses the elephant in the room: how the holidays, for many people, are not all candy canes and chestnuts roasting by the fire. She shows the negative emotions that arise from the chaos of it all, while keeping her story funny and poignant.

“I suspect many people—especially those who frantically try to put together memorable Christmases for their families/friends--feel this way too,” See says.

Ken Szymanski, a returner to the Joy to the Word stage, knows all too well the power of blending spoken word with music.

“I’ve been a fan of spoken word events since I was a student at UW-EC in the late 90s, and I love how they’ve evolved over the years,” Szymanski says. “Add in live music, and it becomes two of my favorite things joined together.” ”
— Ken Szymanski

“I’ve been a fan of spoken word events since I was a student at UW-EC in the late 90s, and I love how they’ve evolved over the years,” Szymanski says. “Add in live music, and it becomes two of my favorite things joined together.”

Szymanski describes Joy to the Word as an “excellent opportunity for community members to unplug, gather in person, and enjoy the power of music and storytelling.” Like See, he fully recognizes the stress and chaos that the holidays can bring, which is why it is important to have these lighter moments.  

“When people struggle to get in the holiday spirit, sometimes stories and songs from the past can remind them of what they loved about the season in the first place,” Szymanski remarks.  

Joy to the Word is a wonderful seasonal tradition for the Chippewa Valley, See says. Being a part of the fun allows her to reflect on her own childhood traditions, including one formed at the hands of her parents every Christmas morning.  “My dad would sit beneath the Christmas tree and throw gifts at his eight kids like some maniacal elf while my mom would scream ‘Fragile!’ in his direction,” Sees says.  For her, the emotions that arise from the giving and receiving of gifts around the holidays mean just as much as the presents themselves.   

Don’t miss out on this present: Sound & Stories presents “Joy to the Word”, on Thursday, December 18th from 7pm to 8:30pm. Buy tickets today!  

"Everything We Could Do": In His New Novel, David McGlynn Explores the Paradoxes of Life in the NICU

Elva Crist

Here in Wisconsin, the cycle of seasons has an intensity that is unique. The rhythm of life is tied to the changing of the leaves and the coming of the frost, and yet, even here, there are places where time seems to stand still.

David McGlynn’s new novel, Everything We Could Do, is rooted in one such place: a Neonatal Intensive Care Unit (NICU) in a rural hospital in Wisconsin. Operating in seeming isolation from the outside world, the NICU in McGlynn’s debut novel is the center of life for two women: Brooke, a new mother with a baby in the NICU, and Dash, a nurse with a medically complex teenage son, who was formerly a resident of the unit.

The novel is inspired by McGlynn’s own experiences in the NICU, as a parent and as a volunteer. His wife, a healthcare worker, also inspires it. Everything We Could Do is a holistic exploration of the NICU from an experienced author who understands the perspectives of both the family members of patients and the healthcare workers.

“I have long understood ‘Everything We Could Do’ as an act of witness — a deliberate effort to pay attention to a world that often goes unnoticed or deliberately ignored, precisely because it can be hard to look at.”
— David McGlynn

“I have long understood Everything We Could Do as an act of witness — a deliberate effort to pay attention to a world that often goes unnoticed or deliberately ignored, precisely because it can be hard to look at,” McGlynn shared in a recent interview.  “But literature is FULL of stories that are hard to look at (just think of how many novels take place during or in the midst of wars), so the NICU seems a more than appropriate topic.”

 

On Thursday November 13th, McGlynn will be joined in conversation by poet, writer and UWEC lecturer, Amy Fleury, to discuss life in and after the NICU. Fleury has written extensively on this subject and is currently working on a memoir and a collection of poetry based on the life of her son, who spent his life in the NICU. Fleury has a profound knowledge of what she terms “medically complex motherhood,” and of the NICU as a place within a place, isolated from what is deemed “the world.”  

“I was a long-term NICU parent,” Fleury said, “and I am a mother of a child who has passed, who had complex medical needs, so I have a lot of lived experience of what’s explored in the book.”

It is a paradox that while medically traumatic experiences like those that can occur in the NICU are not often the subjects of open conversation, they are also simplified by those who have not personally experienced them, McGlynn noted. Fleury, whose son lived his whole life in the hospital, hopes that those who attend the conversation will come away with a more nuanced understanding of the nature of the NICU and those who inhabit it.

“I think a lot of times people who are on the outside of these situations think of them as sad, and it can be sad, or traumatic, and it can be traumatic, but there’s still joy, and there’s still love and there’s still connection and community within these places,”  Fleury said.

“One of the things that is important for me is that my son’s life took place in the hospital,” Fleury said, “and so I don’t regret all of the time we spent there, because that was his existence, his life, he had a lot of joy.”

Fleury sees this message embodied in the character of Dash, the nurse whose son has medical complications. She observed that in defining children by their medical complications, we do them a disservice by oversimplifying them, much as the NICU experience itself is.

McGlynn also spoke of this character, who, along with Brooke, the mother, serves as a “tentpole” of the novel. Dash is a representation of many people in the author’s life who work in NICUs in Wisconsin.

“My wife has worked in hospitals throughout her career as a medical social worker, and my mother-in-law was a nurse for 35 years. So I have hung out with nurses for a long time. I love their gallows humor, their tenacity, and their steadiness during times of crisis. I knew I didn’t want Everything We Could Do to only focus on the experience of the parents in the NICU, but to instead provide a glimpse of the entire world of caring for pre-mature and imperiled infants,” McGlynn said.  “The NICU nurses I met and became friends with were (and are) some of the kindest and strongest people I have ever encountered. Dash is representative, in many regards, of my deep admiration for them.”

Through their writing, both McGlynn and Fleury have emphasized the importance of sympathy and compassion, as exemplified by these nurses in many ways. Though the experiences in hospitals and similarly difficult places can be traumatic and complex, there is a simplicity at the heart of it when it comes to community.

““I mean really, at the core, it’s about compassion.””
— Amy Fleury

“I mean really, at the core, it’s about compassion,” said Fleury. “It’s about extending grace to others and trying to understand. It’s difficult to completely put yourself in another person’s circumstance, but to attempt, make some attempt to go beyond preconceived notions and extend that compassion, not pity, but compassion.”

McGlynn and Fleury’s forthcoming program will highlight two artists using their craft in the most poignant way: to process the difficulties of life, and, in McGlynn’s words, to tell an untold story.

Join David McGlynn and Amy Fleury’s conversation on Everything We Could Do at 6 PM on November 13th at L.E. Phillips Memorial Library.

 

Barstow & Grand Turns 9! Interviews with the Editors

Chloe Stromberg

Mark your calendars folks! It’s that time of year again, when Barstow & Grand will be releasing the ninth edition of their regional literary journal. Join fellow writers in celebrating the hard work they’ve dedicated to this journal. A release party will be held at The Brewing Projekt on Wednesday, November 19 at 7PM.

I got in touch with a few of the editors, who work on the journal. They spoke about the process of collaborating on the journal and highlighted the importance of contributions made by many writers.

I first had a conversation with Eric Rasmussen, founder and editor for Barstow & Grand. Eric has been helping with the release of these literary journals for nine years. We discussed some background on Barstow & Grand, as well as the upcoming regional literary journal.

 

CS: What is the biggest change Barstow & Grand has seen over the years?

ER: Every issue is a unique mix of local authors and writers from around the upper midwest, and that’s always the most exciting part of publishing the journal. Our goal all along has been to contribute to the literary community of the Chippewa Valley and build bridges to other writers in the region and beyond. While our submission and publication routines have been fairly well established for several years now, it’s always fun and rewarding to see what sort of writers we’re appealing by taking a look at who’s submitting.

 

CS: What is something you think is unique to this edition, compared to previous ones?

ER: The most unique element of the issue that we’re particularly excited about is the art we found to compliment the writing in the journal. We connected with Greg Krochen, archivist at UW-Eau Claire’s McIntyre Library, who shared the work of local amateur photographer Daniel Bastian Nelson, who took pictures of life in the Chippewa Valley around the turn of the 19th century. Not only are the images super engaging, the historical angle lends the writing we’re featuring this time around a different twist. People have been engaging creatively with the Chippewa Valley for a long time, and it’s interesting to consider that scope.

 

CS: How did you initially become interested in editing, and more specifically for Barstow & Grand?

ER: My original interest in local publishing was founded in my own writing endeavors. Writing fiction has been my primary creative outlet for more than a decade now, and early on I took as much writing advice to heart as possible, including how impactful working for a literary journal can be on one’s own writing. After gaining some experience as a reader for a couple different national journals, I decided the Chippewa Valley could use an outlet of its own. This was at the time BJ Hollars was starting the Chippewa Valley Writers Guild, so it felt like the perfect time to start a partnership and bring my modest editorial skills to the local writing community.

 

CS: What is your favorite aspect of the editing process? Is there anything that surprised you, going into it?

ER: Reading submissions is always overwhelming, and rejecting work is heartbreaking. But once we follow the process and are left with a stack of writing that we intend to publish, something magical happens. As I re-read the pieces for layout purposes, I find all the ways they’re connected, and discover the reasons our readers and editors chose them. It’s like pieces of a collage that you didn’t think would fit together gelling into a cohesive work. The first read-through of the laid-out journal is a deeply rewarding act of discovery, even though I’ve seen all the pieces before!

 

CS: What advice would you give to those who are interested in pursuing an editing career, or working for Barstow & Grand?

ER: As a hobbyist editor, I’m probably not a great source of advice for those seeking careers in literary editing and publishing! That being said, I would definitely remind any interested parties that editing is a skill, and like all skills, can only be developed through practice. After more than a decade of editing work, I’m relatively confident in the suggestions I offer our authors, but that wasn’t always the case. Some people are born with a good critical eye when it comes to writing, but the process of working with authors is something that will take time to hone.

 

CS: What’s been your favorite project to work on at Barstow & Grand?

ER: The release party every year is a blast, and I’m continually dumbfounded that we manage to attract so many people! I’m also proud of our website, our editorial team, and all the other behind-the-scenes work. But nothing compares to picking up the proof copy each year from EC Printing. That’s every writer’s dream–a book that you helped create, that people will pick up and read and find some joy in doing so. The physical copy of each year’s issue is definitely the part I appreciate most.

 

CS: What are you most excited about for this next release of the Barstow & Grand regional literary journal?

ER: Our release party will once again take place at the Brewing Projekt in November, and that’s always a focal point. Meeting authors, seeing friends and literary contacts, the event has become a cornerstone of local literary calendar, and that’s always very exciting. Handing our authors the complete journal with their work included is something I look forward to every year!

 

Next, I asked Kate Hinnant, poetry editor for Barstow & Grand to speak on how other positions she inhabits overlap with her work at Barstow & Grand.

 

CS: What does contributing to this literary journal mean to you and your colleagues?

KH: For me, being part of producing this journal is about providing a place for local and regional writers to share their work. I feel like the careful way we curate each issue means we are not simply amassing poems and prose, but creating a context in which they can be enjoyed together.

 

CS: In addition to working as the poetry editor for Barstow & Grand, you also work at the University of Wisconsin-Eau Claire in McIntyre library. Could you explain a bit about your position?

KH: Sure. I am the Head of Communication. McIntyre Library has a lot of cool things going on: events, exhibits, digital collections of historic photos, for example. I head up a team of staff that makes sure that students, faculty and staff and sometimes the public know about everything that is going on in our library.

 

CS: Are there any takeaways you’ve had from working in McIntyre library that translate over to your position as a poetry editor? What skills have you acquired that may influence your editing technique?

“Sharing thoughts with the other poetry readers helps me recognize the value that others see in my poems.”
— Poetry Edtior, Kate Hinnant

KH: Both positions demand that I always consider my audience. For example, with the journal I am not looking for poems that satisfy just me, I am trying to think of our readers. So if the form isn’t my favorite, or if it’s about a topic that’s not of interest, I still consider it. Sharing thoughts with the other poetry readers helps me recognize the value that others see in my poems.

 

CS: What positions have you had in the past that led you to editing poetry for Barstow & Grand?

KH: I was a reader and then Poetry Editor of Sycamore Review in the early 1990s.

CS: Can you explain a bit about what to expect from Barstow & Grand’s regional literary journal?

KH: We try not to follow any formula, so it really is good and varied writing from the upper midwest.

 

Lastly, Paul Reid, the editor of prose for Barstow & Grand, shared his enjoyment for laughing at the everyday events of life through storytelling.

 

CS: Along with being a prose editor for Barstow & Grand, you’re also an English/Creative writing professor at Chippewa Valley Technical College (CVTC). How might your teaching experience influence the way you edit? Is there anything you’ve learned teaching that you could apply to your editing position?

“I’ve learned that behind every piece of writing is a person, so it is important to be empathetic and encouraging to others. I work with writers of all ability levels on a weekly basis, so I always try to find ways to give writers feedback, no matter how small. ”
— Prose Editor, Paul Reid

PR: I’ve learned that behind every piece of writing is a person, so it is important to be empathetic and encouraging to others. I work with writers of all ability levels on a weekly basis, so I always try to find ways to give writers feedback, no matter how small.

 

CS: On the other end, are there techniques or skills you’ve acquired as a prose editor that you’ve been able to use in your teaching?

PR: We get so many great submissions of prose to Barstow and Grand–reading them makes me excited to write and I try to share that enthusiasm in encouraging my students to take chances and put themselves out there as writers.

 

CS: You’ve made contributions in the past to Barstow & Grand’s literary journals. What is your favorite genre to write? Why?

PR: I love the short story, but my favorite genre is probably creative non-fiction. Every story starts with an element of truth, and I feel I have a lot of stories to tell. I enjoy the challenge of helping my readers see the humor in everyday events.

 

CS: As an editor, what has been your favorite genre/style of writing to read? Why might that be and has your taste shifted over time?

PR: My favorite genre to read is the same as I write–short stories and creative non-fiction, although I will admit I gravitate toward shorter pieces and flash fiction, as I love the power of the word and this really shines in shorter fiction.

 

CS: Why do you believe it’s important for people to support Barstow & Grand?

PR: Barstow & Grand has published over 200 authors since it started, many of them first-time authors–what an amazing statistic! To have an outlet to give so many people a voice to reach others is something that is truly needed today more than ever. Plus, it is always a great read!

 

CS: Do you have any tips for writers who are interested in submitting work to a journal in the future? Editing or otherwise?

PR: You will never get published if you don’t submit a piece, simple as that. Believe in yourself and your abilities. If your piece isn’t accepted, don’t be discouraged–this happens all the time! Submit again–it will happen for you!


Don’t forget to show up to The Brewing Projekt, at 7:00pm on Wednesday, Nov. 19th, for a night full of pure literary bliss! This event will run from 7:00pm-8:30pm.