Lynn Stegner – författare

What does it mean to be a westerner? With all the mythology that has grown up about the American West, is it even possible to describe "how it was, how it is, here, in the West-just that," in the words of Lynn Stegner? Starting with that challenge, Stegner and Russell Rowland invited several dozen members of the western literary tribe to write about living in the West and being a western writer in particular. West of 98 gathers sixty-six literary testimonies, in essays and poetry, from a stellar collection of writers who represent every state west of the 98th parallel-a kind of Greek chorus of the most prominent voices in western literature today, who seek to "characterize the West as each of us grew to know it, and, equally important, the West that is still becoming." In West of 98, western writers speak to the ways in which the West imprints itself on the people who live there, as well as how the people of the West create the personality of the region. The writers explore the western landscape-how it has been revered and abused across centuries-and the inescapable limitations its aridity puts on all dreams of conquest and development. They dismantle the boosterism of manifest destiny and the cowboy and mountain man ethos of every-man-for-himself, and show instead how we must create new narratives of cooperation if we are to survive in this spare and beautiful country. The writers seek to define the essence of both actual and metaphoric wilderness as they journey toward a West that might honestly be called home. A collective declaration not of our independence but of our interdependence with the land and with each other, West of 98 opens up a whole new panorama of the western experience.

Kate Riley is not the sort of heroine we meet in most American novels. Self-centered, shape-shifting, driven from one man to another and one city to the next, she is all too real but not at all the loyal and steady homebody of idealized womanhood. When we first encounter her, Kate is about to undergo exploratory brain surgery for a condition she herself has fabricated. Sobered by the gravity of the procedure, she commences a journey of memory that takes us back to the Saskatchewan village where she grew up and to the singular event that altered her forever and irrevocably set the course of her life. From her childhood, in which she was held captive to a mother gone mad, through her adult life, which unfolds as a mesmerizing sequence of men, abandoned children, and perpetual movement, Kate's story is one of desperation and remarkable invention, a strangely American tale, narrated by one of our most original writers.

Lynn Stegner's fiction has drawn comparisons to the works of Margaret Atwood, Barbara Kingsolver, and Alice Munro. In The Half-Life of Guilt, Stegner tells the story of Clair Bugato and Mason Comstock. Together they journey to the world's largest saltworks in Baja California, where a proposed expansion threatens the California gray whale population, recently come back from the brink of extinction.In the midst of a conservation battle, they meet Rubio Cantú, who leads them to the powers that be. Their two-week journey sends Clair deep into the past, where she reviews the divergent paths she and her near-identical twin sister have taken away from a childhood tragedy. At the same time, Mason confronts his own unhappy past in Cornwall, England, with a father whose hate was stronger than his love.No other work of fiction patterns the warp and weft of human guilt, the homesickness only love can cure, environmental crises, the intrinsic conflict between international commerce and planetary health, and the necessity of forgiveness. The Half-Life of Guilt is woven from these themes, delivering to the reader an engrossing and transformative literary experience.

A tour de force work of fiction with interweaving themes of environmentalism, past trauma, and redemption. Here is a novel that explores the manner in which Clair and Mason take on guilt where none is warranted and its lasting impact on how they navigate their lives. Lynn Stegner’s acclaimed novels and story collections have drawn comparisons to the works of Margaret Atwood, Barbara Kingsolver, Alice Munro, and John Updike. Now in her new novel, The Half-Life of Guilt, Stegner tells the story of Clair Bugato and Mason Comstock. Together they journey to the world’s largest saltworks in Baja California, where a proposed expansion threatens the California gray whale population, recently come back from the brink of extinction. In the midst of a conservation battle, they meet a mysterious son of Mexico, Rubio Cantú, who leads them to the powers that be. Their two-week journey sends Clair deep into the past, where she reviews the divergent paths she and her near-identical twin sister have taken away from a childhood tragedy. At the same time, Mason confronts his own unhappy past in Cornwall, England, with a father whose hate was stronger than his love. No other work of fiction patterns the warp and weft of human guilt, the homesickness only love can cure, environmental crises, the intrinsic conflict between international commerce and planetary health, and the necessity of forgiveness. The Half-Life of Guilt is woven from these themes, delivering to the reader an engrossing and transformative literary experience.

Wallace Stegner founded the acclaimed Stanford Writing Program-a program whose alumni include such literary luminaries as Larry McMurtry, Robert Stone, and Raymond Carver. Here Lynn Stegner brings together eight of Stegner''s previously uncollected essays-including four never-before-published pieces -on writing fiction and teaching creative writing. In this unique collection he addresses every aspect of fiction writing-from the writer''s vision to his or her audience, from the use of symbolism to swear words, from the mystery of the creative process to the recognizable truth it seeks finally to reveal. His insights will benefit anyone interested in writing fiction or exploring ideas about fiction''s role in the broader culture.