"Henry could have shot all three of them from where he sat, wedged into the crotch of a maple, but he knew they wouldn't die. 'You missed,' they'd say, and then they'd kill him. If they weren't liars, they would admit there was no hiding from the Gestapo -- secret rooms, new identities, none of it worked -- but they were liars."

Samuel Ligon's short story "Germans" is ForeWord's Book Club selection for the week. Ligon is the author of a novel, Safe in Heaven Dead (HarperCollins) and he teaches writing at Eastern Washington University. Drift and Swerve, his collection of short stories published by Autumn House showcases his muscular prose, dark humor, and gritty intimacy with isolation.

Tracy Winn’s “Reflections on My Process”:

The best part of writing a story, is probably the rush of thinking I’ve finished — that sizzle up the spine that comes with believing I have accomplished something. A closing sentence announces itself. I type. I see the circle of the story come around to meet itself. I hear closure in the rhythm of the final sentence slowing the pace of words, coming to a stop, coming into the station like a train, finding its long-anticipated point of rest.

For a couple of days, I’ll walk around propped up by my secret success — there is a new story written and I’m the clever one who wrote it. I marvel at the characters I’ve brought to life in the story, savor the metaphors, and affectionately retrace the connections that bind it as a whole. In re-reading it, I might strengthen a phrase or two. However, I’m not really working to improve it, just hoping to feel again the tingle of accomplishment — the congratulatory pat to the ego — that goes with re-realizing I’ve made something new.

Getting to this point of completion has challenged me deeply. My process is messy and slow and inefficient. It usually begins when I notice a quirk of reality like a blind man hitchhiking, or a small child in expensive clothes giving the finger to passersby in a park, or a solar eclipse reproduced precisely, in miniature on the sidewalk a hundred times through holes in the leaves of a sickly little tree. The wind shakes the leaves and all the tiny eclipses projected on the ground, dance, igniting in me a sense of wonder, attracting my imagination and inspiring me to begin something. I write little blocks of a story — a paragraph or a scene to each block — not knowing the story’s shape or where they will fit into the flow of the piece. I move them around to discover what their proximity provokes. Then I write in my notebook about what I see in front of me, naming the possibilities of what happens in what order, adding new blocks and discarding those that seem less vital.

My process resembles what my great grandmother did when her edema was bad. She’d take up residence in her rocker, crochet hook in hand, her ankles swelling over the tops of her lace-up heels. She’d pile completed afghan squares at her feet. Each square had its own color scheme and logic, but eventually it would need to connect to its abutters, need to be sewn in so the assemblage would make a sensible and pleasing whole. Similarly, the blocks of my story must be hooked in and smoothed until seamless. So when that ultimate sentence arrives for me, my relief and delight at having finished overwhelms my better judgment. The fox of forgetfulness steals in and pilfers all memory of other times I’ve “finished” a story.

The illusion of completion can last for quite a while, during which the story sits on my desk. Or, even worse, the story gets sent to some journal with a contest deadline approaching. You’ll notice the passive voice in the last sentence — as if I play no part in acting on the assumption that the story is finished. But written work demands an audience as fervently as the visual or performing arts. The story needs to create a reaction in someone other than its writer. So begins the second stage in the process of creation. I share the work with a trusted reader or two. They challenge my assumptions. They ask questions that reveal their misunderstanding of a key component of the story. I rewrite. Time passes. I get to know the story a little better. I collect a few rapid rejections from periodicals. Eventually, the reasons cited for rejection, the passage of time, and the questions asked by my writer friends crack the illusion that the story has arrived.

Time passing allows for a certain distance from the work. I begin to see only everything wrong with it. Before you can say “solar eclipse,” the story has become a poor limp thing, dead in the water, an embarrassment to its maker, and I wonder how I could ever have been so thoroughly deluded as to show it to anybody, never mind sending it off to garner praise and awards. If I am lucky and smart at this point, I will hear my former teacher, Tracy Daugherty saying, “You have a beautiful problem.” His words remind me that the reactions the piece has elicited from my trusted readers are not all bad. They’ve recognized something vital in there that might still be released. If I climb back into the story, sharpening images, clarifying the shape and intent — those intangibles that have begun to reveal themselves more clearly to me — I might still rescue it.

I forget every time that the real ending — the final sentence that replaces all impostors — won’t make its appearance until the story has been tempered like glass or steel by readers’ reactions, by time, and by revision. Inspiration must be followed by challenge. And the story can’t really be completed until after time has passed - long enough for me to know the story so well that I can solve my “beautiful problem.”

This week, ForeWord’s Book Club features poems that tell stories. Of course, fans of Robert Service might say that the only good poems are those that tell stories – they might also say that the only good poet is a dead one. Sigh. Yes, it is sometimes hard to believe that storytelling was poetry’s original intent. In Gabrielle Calvocoressi’s poem, “Fence,” the story is one you’ve no doubt heard. You may even have seen the movie. And that common knowledge contributes to the cinematic sensation of wide angle shifting to close-up and back again, an effect that brings the reader closer and closer and closer to the crime.

This week, the ForeWord Book Club offers an excerpt from Literature and War: Conversations With Israeli and Palestinian Writers by Runo Isaksen, translated by Kari Dickson (Interlink, 978-1-56656-730-5).

Author David Grossman, in his absorbing interview titled "In Morality’s Catastrophe Zone," says:

"I felt that I would never understand my own life-as a Jew, an Israeli, a father, a man, a lover, an author-unless I understood how I would have behaved there, in Shoah. And I wanted to write from two perspectives, from the Jew’s, but also from the murderer’s. It was crucial for me as a Jew to understand how I would have dealt with the total denial of my individuality and humanity in those conditions. But at the same time to try to understand how a normal person can become a murderer, what processes you have to go through to start killing."

The entire interview with Grossman will be available for one week only.

Join ForeWord next Friday at BookExpo America to meet the editors and authors of five extraordinary new books.

University of Nebraska editor Tom Swanson presents Ted Kooser’s new memoir, Lights on a Ground of Darkness: An Evocation of a Place and Time (September)

Pleasure Boat Studio’s publisher, Jack Estes, presents a mystery by debut author Michael Burke, Swan Dive (September).

Other Press publisher Judith Gurewich presents a new book of essays, Black Suit, Worn Once $45, by Michael Greenberg (September).

Jim Minz, editor at Baen presents The Stoneholding: Legacy of the Stone Harp: Book One by debut authors James G. Anderson & Mark Sebanc (September).

Overlook Press editor Juliet Grames will speak about When Autumn Leaves, a work of literary fiction by debut author Amy Foster (October).

The editor’s pitch session will be held on Friday, May 29, at 11 a.m. in Room 1E15. A panel discussion with the authors will be held in the afternoon, at 3:30 p.m., at the Downtown Stage.

ForeWord’s editor-in-chief, Heather Shaw, was chosen this year to host the Indie Editor’s Buzz panel at BookExpo America. Shaw invited five independent publishers to each present a title at BEA that they feel will have wide appeal--there’s a debut mystery, a memoir by Ted Kooser, a debut novel, a book of essays by Michael Greenberg, and a debut fantasy. The editor’s pitch session will be held on Friday, May 29, at 11 a.m. in Room 1E15. A panel discussion with the authors will be held on Saturday, May 30, at 3:30 p.m. at the Downtown Stage.

In the weeks leading up to BEA, the ForeWord Book Club will showcase each of the “Buzz” books. On this final week, we’d like to present a debut mystery from Pleasure Boat Studio, Swan Dive by Michael Burke, to be published in September.

Swan Dive (978-1-929355-50-1) focuses on “Blue” Heron, a down-and-out detective with a roaming eye who gets much too involved in a complex business deal, a deal which results in embezzlement, swindling, sexual misconduct, and murder. Along the way, Blue discovers a great deal about himself while trying to understand the subterfuge. For a smart-guy detective, he is extremely naïve and innocent. You might even say he’s rather stupid. One of his problems is that he often gets too entranced with whatever woman is nearest to be able to concentrate on the job he’s being paid to do. That makes for trouble.

This is a first novel by Michael Burke, best known as a sculptor and graphic artist. The son of philosopher Kenneth Burke, he has shown here a remarkable ability to connect contemporary life with ancient mythology. The result is sexy, thought-provoking, insightful, and a damned good read. Burke lives and works in New York City, and he is already well along on the next “Blue” Heron novel, another myth-based mystery with intrigue, lust, and more than one good laugh.

ForeWord's editor-in-chief, Heather Shaw, was chosen this year to host the Indie Editor's Buzz panel at BookExpo America. Shaw invited five independent publishers to each present a title at BEA that they feel will have wide appeal--there's a debut mystery, a memoir by Ted Kooser, a debut novel, a book of essays by Michael Greenberg, and a debut fantasy. The editor's pitch session will be held on Friday, May 29, at 11 a.m. in Room 1E15. A panel discussion with the authors will be held on Saturday, May 30, at 3:30 p.m. at the Downtown Stage.

In the weeks leading up to BEA, the ForeWord Book Club will showcase each of the "Buzz" books. This fourth week, we’re introducing one of America’s most popular and bestselling songwriters, Amy Foster, and her debut novel: When Autumn Leaves (The Overlook Press).

In Avening, a tiny town on the Pacific coast, it’s hard not to believe in magic. This is a town where the shoes in the window always fit, where you can buy a love potion at the corner shop, and where the woods at the outskirts of town just might be the door to another world. And, of course, there’s Autumn, Avening’s beloved resident witch. When Autumn receives news that she’s been promoted to a higher coven, she also learns she has to replace herself. But who in Avening is in tune enough with her own personal magic to take over the huge responsibility of town witch? Is it shy Ellie, who is used to thinking of herself as invisible? Beautiful, charismatic Nina, who is hiding a dark secret past? Stella, the clumsy loud-mouth whose grandmother trained her in Appalachian healing?

Autumn has a list of thirteen women and men who just might have what it takes-but how can she get them to open their eyes to the magic in their lives? This endlessly surprising and heart-warming debut is the story of coming to terms with the magical things we take for granted everyday-our friends, our community, and, most of all, ourselves.

The daughter of Grammy award winning producer David Foster, Amy Foster has written songs for Josh Groban, Diana Krall, Eric Benet, Michael Buble, Destiny’s Child, and Andrea Bocelli, who performed her song at the 2006 Olympics.

An excerpt of When Autumn Leaves is available for one week at the ForeWord Book Club.

ForeWord's editor-in-chief, Heather Shaw, was chosen this year to host the Indie Editor's Buzz panel at BookExpo America. Shaw invited five independent publishers to each present a title at BEA that they feel will have wide appeal--there's a debut mystery, a memoir by Ted Kooser, a debut novel, a book of essays by Michael Greenberg, and a debut fantasy. The editor's pitch session will be held on Saturday, May 30, at 11 a.m. in Room 1E15. A panel discussion with the authors will be held on Saturday, May 30, at 3:30 p.m. at the Downtown Stage.

In the weeks leading up to BEA, the ForeWord Book Club will be showcasing each of the "Buzz" books. This third week, we’re introducing Ted Kooser’s Lights on a Ground of Darkness (Bison Books/University of Nebraska, 978-0-8032-2642-5).

"Like the yellow, pink, and blue irises that had been transplanted from house to house over the years, the stories of poet Ted Kooser’s family had been handed down until, as his mother lay ill and dying, he felt an urgency to write them down. With a poet’s eye for detail, Kooser captures the beauty of the landscape and the vibrancy of his mother’s Iowa family, the Mosers, in precise, evocative language.

"The center of the family’s love is Kooser’s uncle, Elvy, a victim of cerebral palsy. Elvy’s joys are fishing, playing pinochle, and drinking soda from the ice chest at his father’s roadside Standard Oil station. Kooser’s grandparents, their kin, and the activities and pleasures of this extended family spin out and around the armature of Elvy’s blessed life.

"Kooser has said that writing this book was the most important work he has ever undertaken because it was his attempt to keep these beloved people alive against the relentless erosion of time."

Ted Kooser, winner of the Pulitzer Prize in Poetry and former U.S. poet laureate, is Presidential Professor of the University of Nebraska. He is the author of twelve books of poetry, including Valentines (Nebraska 2008) and The Blizzard Voices (available in a Bison Books edition). His award-winning prose book, Local Wonders: Seasons in the Bohemian Alps, is also available in a Bison Books edition.

An excerpt from Kooser’s Lights on a Ground of Darkness is available for download for one week only.

ForeWord Magazine's editor-in-chief, Heather Shaw, was chosen this year to host the Indie Editor's Buzz panel at BookExpo America. Shaw invited five independent publishers to each present a title at BEA that they feel will have wide appeal--there's a debut mystery, a memoir by Ted Kooser, a debut novel, a book of essays by Michael Greenberg, and a debut fantasy. The editor's pitch session will be held on Friday, 29 May at 11 a.m. in Room 1E15. On Saturday, 30 May at 3:30 p.m. there will be a panel discussion with the authors at the Downtown Stage.

Over the next five weeks, the ForeWord Book Club will be showcasing each of the "Buzz" books, beginning with Baen Books' The Stoneholding: Legacy of the Stone Harp: Book One by debut authors James G. Anderson & Mark Sebanc (September).

This second week, we're promoting Black Suit, Worn Once $45 by Michael Greenberg (Other Press).

To the literary elite, Michael Greenberg has always been known for his trenchant and moving columns that appear biweekly in the Times Literary Supplement. But when critics hailed his memoir Hurry Down Sunshine as a classic, Greenberg became a household name. Black Suit, Worn Once $45 is an autobiography in installments, set in New York, where the author depicts the life of a writer of little means trying to practice his craft, or simply stay alive. He finds himself writing about golf, a game that he never played; doctoring doomed movie scripts; driving trucks and taxis; selling cosmetics from an ironing board in front of a women's department store; and botching his debut as a waiter in a coveted five-star restaurant.

Central characters include the City of All Cities; Michael's father, whose scrap metal business looms large; his elegant mother; his first wife, Robin, whom he met in a Greenwich Village high school; their son, Aaron, who grew up on the Lower East Side; a repentant communist who fought in the Spanish Civil War; a Chilean filmmaker in search of his past; rats who behave like humans; beggars who are poets; a man who becomes a woman; and a woman who prefers to live underground. Greenberg creates a world where the familial, the incongruous, the literary, the humorous, the tragic, and the prosaic not only speak to each other, but deeply enjoy the exchange.

Praising Greenberg and his column in the New York Times, Rachel Donadio wrote: "Imagine The Talk of the Town as if written by Dostoyevsky." This is an entirely original book, whose writing is magical and whose insights are deceptively profound.

A native New Yorker, Michael Greenberg is the author of the critically acclaimed memoir Hurry Down Sunshine (Other Press, 2008), which was chosen as one of the best books of 2008 by Time, the San Francisco Chronicle, Amazon.com, and Library Journal. He is a columnist for the Times Literary Supplement (London), where his wideranging essays have been appearing since 2003. His fiction, criticism, and travel pieces have been published in such varied places as O, The Oprah Magazine and The New York Review of Books. He lives in New York with his wife and son.

The first chapter of Black Suit, Worn Once $45 is available for download for one week only.