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"Doig, Ivan"
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The bartender's tale
A one-of-a-kind father and his precocious son are rocked by a time of change. The pair make an odd kind of family, with the bar their true home, but they manage just fine until the summer of 1960, when two new women enter their lives.
Book
Ivan Doig
Ivan Doig works extraordinarily hard at all dimensions of his books, but he seems especially committed to accuracy. If he describes a forest fire, he will ask those who have actually fought them to appraise his rendition. Doig aspires to convey the lives of relatively obscure people committed to decency and hard work. His efforts to precisely and fully describe them underlines his determination to accord his characters and the history they represent total respect.
Doig’s memoirThis House of Skywas a finalist for the National Book Award; English Creek,the first novel in a trilogy about Montana, received
Book Chapter
Heart earth
In this prequwm to This house of sky, Doig captures the texture of the American West during and after World War II.
Book
Master Class
Master Class: Lessons from Leading Writers gathers more than two decades of wisdom from twenty-nine accomplished authors. It offers previously unpublished interviews along with freshly edited versions of ten interviews from Nancy Bunge's well-received previous collection, Finding the Words. The first section, Theory, incorporates interviews which document the golden age of writing programs in which authors with a strong sense of social and cultural responsibility taught as seriously as they wrote. These conversations delve into the writers' philosophies and teaching methods. The second section, Practice, presents interviews with authors who discuss how they've approached the writing of particular works. Altogether the interviews introduce authors as inspirational models and provide insightful techniques for other writers to try. One piece of advice recurs with striking consistency: to produce fresh, interesting work, aspiring writers must develop a passionate self-trust. This rule has an essential corollary: improving as a writer means constantly stretching oneself with new information and skills. Sure to interest writing and literature teachers as well as writers at every stage of development, Master Class is highly recommended for undergraduate and graduate writing courses.
Interviews with Marvin Bell, Ivan Doig, Sandra Gilbert, Allen Ginsberg, Donald Hall, Jim Harrison, Etheridge Knight, Margot Livesey, Larry McMurtry, James Alan McPherson, Clarence Major, Bobbie Ann Mason, Sue Miller, N. Scott Momaday, Kyoko Mori, Thylias Moss, W. S. Penn, Kit Reed, Alix Kates Shulman, William Stafford, Wallace Stegner, Ruth Stone, Scott Turow, Katherine Vaz, Diane Wakoski, Anne Waldman, Richard Wilbur, Richard Yates, and Helen Yglesias.
eBook
Ivan Doig's Book Bag: Five Favorite Books on the American West
[...]Fuller manages to mix real reporting and pumping of sources with dialogue reconstructed from before she was on the scene to tell a heck of a story of a ranch kid turned oilfield roustabout, his off-the-wall buddies, and the wife and family who tried to contain his unsprung behavior.
Newspaper Article
A novelist tinkers in his workshop, layering characters with this and that
Call me analog, but I believe memorable fiction is best served by physical magnitudes rather than minimalist digits of dis and data. Archival photos, turns of phrase (\"slim as a clarinet\") that simply pop to mind, revelatory glimpses across a room -- the supply of characteristics leading toward character is as broad as a writer's experience and as deep as he cares to delve. Of course, some rules, or at least strictures of common sense, apply: I never use my friends; and relatives, I say, are best saved for memoirs. Nor, except in minor roles, do I employ actual historical personalities - - in most cases, they carry too many awkward truths to wear a fictional guise convincingly. But virtually all else is fair game. Case in point: Recently I was in a Montana establishment not unlike those my father frequented on his hiring forays, when in came a startlingly long-faced leathery rancher. As soon as I was decently out of sight of him, that face entered my notebook: \"long thin nose, wrinkles running down cheeks; like a copper coin a bit melted.\" Oliver, could you come here for a moment? \"America. Montana. Those words with their ends open.\" Thus mused my narrator, Angus McCaskill, in Dancing at the Rascal Fair as he and a lifelong chum set forth from Scotland in 1889 to take up homesteads in the American West. Not accidentally, that same aspirated final vowel representing promise, hope and boundless opportunity also characterizes the romantic prospects whom Angus and other yearning hearts meet in that book and its successors: Anna, Marcella, Leona, Lexa and, to add a slightly chestier note of unconformity, Mariah. The men of these women's lives tend to come with final consonants: Isaac, Jick, Alec, Mitch and, in another round of unconformity, Riley.
Newspaper Article
THE WRITING LIFE
When I was about as tall as my father's elbow as he judiciously bent it in the nine taverns of our town in Montana, I saw a lot of character on display. Among his distinctive Western aspects--he'd been a homestead kid, bronc buster, sheepherder, short-order cook--he was a haymaker: a haying contractor, a kind of freelance foreman, who would hire his own crew and put up ranchers' hay crops.
Newspaper Article
