Tag Archives: Lincoln County

Seasonal Specials from Nualláin House

29 Nov

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ontheroadfront300ON THE ROAD TO LAS CRUCES; Being A Novel Account of The Last Day In The Life of A Legendary Western Lawman
by Pat Nolan

 Pat Nolan’s first published novel, On The Road To Last Cruces; Being A Novel Account of The Last Day In The Life of A Legendary Western Lawman is the story of youthful bravado and an old man’s regret, and as much a dusty tale of buffalo hunts and shoot-outs as a politically driven “whodunit.”  November 2011 ~ 154 pages

 

THE LAST RESORT
A Lee Malone Adventure
by Pat Nolan

Pat Nolan has written a fast paced, tongue-in-cheek, pun filled comedy of errors, misunderstandings, and faux intuition in the mode of a 1930’s pulp thriller.  Instead of the typical splinter-jawed, broken nosed, tobacco breathed tough guy hero, Nolan upends the stereotype by introducing a gorgeous internationally famous former fashion model whose super power is her beauty.
August 2012~ 212 pages

 

 

HELLO LIFE
Poems by Gail King 

The poems of Hello Life achieve their freshness in the particularity of experience. The poet surrenders herself to the moment and tenders that subtle cognition as a delighted welcome to life. The ease of her expression in dealing with the everyday communicates an uncommon wisdom. The poems present, through playful understatement and sly humor, the immediacy of spontaneous impressions.
December 2013  ~  64 pages

 

 

 

Your Name Here
New Poems
by Pat Nolan 

The poems in Your Name Here revolve around that quantum axis with seemingly random discontinuities that do not pin down meaning but are left to mean themselves. Nolan’s poetry enacts a sub-vocal monologue that is like the murmur of cosmic background radiation, noticeable only in its cessation or as pauses when the mind registers the sum of discrete moments in an instant.  November 2014 ~ 80 pages

 

Poetry For Sale
Haikai no Renga (Linked Poetry)

Introduction by Pat Nolan
The eleven haikai no renga included in Poetry For Sale were written over period of nearly thirty years by Pat Nolan and his renku collaborators, Keith Kumasen Abbott, Sandy Berrigan, Gloria Frym, Steven Lavoie, Joen Eshima Moore, Maureen Owen, Michael Sowl, and John Veglia.  In these pages haikai no renga is synthesized as a brief, highly suggestive, well spoken, maddeningly ambiguous, read-between-the-lines kind of poetry tuned to a common understanding.  October 2015 ~ 152 pages

Year Five

27 Jan

year five

2015 marks the fifth year of operation here at Nualláin House, Publishers, and while there were a few surprises and learning experiences, there is also no doubt the education opportunities will keep presenting themselves.  Of the four books Nualláin House has published to date, two have been genre fiction and two have been poetry.  This should not be surprising as among the principals of the publishing concern are two poets.  Genre fiction will still be a focus but because of the abundance of readily available material, poetry will always be a consideration.  Now with four books complete and available, a fifth is in the planning stages.   More on that in the near future.

The Nualláin House mission has not changed. As a publishing venture committed to introducing diverse literary entertainment to the reading public, Nualláin House, Publishers, will continue to offer a range of quirky and engaging titles to enhance the modern “reading life.”   What has changed is the variety of options available in presenting and producing written entertainment, and one that Nualláin House, Publishers, is encouraged to attempt.

Access and availability seem to be the buzz words.  The reading public now totes their devices the way some folks used to carry paperbacks around (some folks still do).  In fact, one of the early paperback publishers was Pocket Books, the name emphasizing their product’s portability.   What has changed is that information, in this case literature, no longer needs to be tied to a single use artifact.  Access to the virtual information cloud seems unlimited as is its round the clock availability.  Technology always changes the way business is done whether it is developing a new type of spearhead or the latest application for digital devices.  How it applies to independent publishing requires a reevaluation of what is being made available, in this case reading material.  Business, independent publishing included, carries with it the assumption that there will be compensation for the effort expended in offering a product, and that money needs to change hands. Although that aspect of business will not go away if it expects to remain business, it is quite possible that virtual content will represent merely the ephemeral inducement to acquire the printed artifact as an item of cultural capital.

Perhaps the access to intellectual product should not be predicated on a monetary return.  The factor that will determine such a product’s financial viability is demand.  If there is no significant demand should the property be withheld or should unconditional access be open to all cyber grazers in the marketplace?  Granted, such a free site becomes a special niche, boutique, if you will, visited by a unique readership brought there through interest generated on social media.

Although eBooks seem to occupy the virtual niche, their basis is not all that different from their printed versions in that they are, at the get-go, a product that must be purchased to access, albeit at a reduced cost.  Also, their virtual life lasts only as long as it takes to complete reading the text which can be anywhere from 12 hours to several months, depending on the product.  An alternate paradigm would be one that takes its cues from entertainment programming in that it offers episodic installments available at a predictable time and date and a compelling story arc that carries over an extended period the interest and attention of the reader.  That it is offered without cost removes a further obstacle in its availability.  What is being described is the online serial.

While the concept of an online serial is not new, Nualláin House is encouraged to adapt the concept to an ongoing pulp series of online genre fiction and is currently testing the waters with an original online serial fiction, Ode To Sunset.  Judging from the initial and ongoing response to posted episodes, there is no doubt that it is a viable enterprise with exciting potential. Many of the details are still in flux as to the format and presentation of serial online fictions, but one thing is certain: companion print editions will inevitably be available for purchase.  More will be forthcoming as further developments take shape.


 

smithsunsettext

Ode To Sunset, A Year in the Life of American Genius, is the title of the ongoing online serial fiction.  As of this post, eight installments have been published, with two more episodes to complete the current section.  Ode To Sunset is the story of American genius told over the course of a year. It is about a poet who is not quite Charles Baudelaire not quite Charles Bukowski, who looks like a well worn Alex Trebeck but with the demeanor of a Mickey Rourke.  It mostly takes place in a city not always quite Frisco.  It is satirical, playful, and inevitably deadly serious.  Now available for your oculation.  Ode To Sunset.


nulogorevjpNualláin House Publishers is also the sponsor of a sister site, Parole, blog of The New Black Bart Poetry Society.  Parole features essays and bbpsovalcritiques on the art of poetry, poets, and the poetry world in general.  Previous posts have included essays on Philip Whalen, William Carlos Williams, Andrei Codrescu, and Bob Dylan.  Membership in The New Black Bart Poetry Society is open to anyone who follows Parole.


 

Just A Reminder
current titles are still available,
free shipping with the purchase of
more than one copy or title
see
How To Order

 

YNHcvrjYour Name Here, New Poems by Pat Nolan
Never one to settle into a style, Pat Nolan has made of his poetry an exploration of other poetries and of the numerous ways a poem can be.  As an adherent of the Philip Whalen Buddhist-inspired “mind moving” school, he holds to the idea that the poem is framed sentience. Just as the observed world is an occasion of subjectivity, it also mirrors the self in a way that reflects objectively.  The poems in Your Name Here revolve around that quantum axis with seemingly random discontinuities that do not pin down meaning but are left to mean themselves.  Written to be heard by the mind’s ear, Nolan’s poetry enacts a sub-vocal monologue that is like the murmur of cosmic background radiation, noticeable only in its cessation or as pauses when the mind registers the sum of discrete moments in an instant.

November 2014 ~ 80 pages ~ $16 ~ paper ~ ISBN 978-0-9840310-0-9

 

HELLOLIFEjHello Life by Gail KingPoetry; The poems of Hello Life achieve their freshness in the particularity of experience. The poet surrenders herself to the moment and tenders that subtle cognition as a delighted welcome to life. The ease of her expression in dealing with the everyday communicates an uncommon wisdom. The poems present, through playful understatement and sly humor, the immediacy of spontaneous impressions. Maureen Owen, former artistic director for The Poetry Project in NYC and author of Edges of Water and Erosion’s Pull, says “In Gail King’s poems the events of the day become transformative, the images of the temporary become immediate, and the mystery of being alive in the Now unfolds. “…time like a lake breeze” says the poet, and the wind rises.” Gail King’s poems have also won the praise of Andrei Codrescu, poet, novelist, essayist and NPR commentator, author of So Recent Rent A World, who said “Reading Gail King has always been one of my great poetry pleasures. Her inimitable voice narrates the world with humor and tenderness, a world of beauty and occasional sorrow. Her work has healing effects.”

December 2013  ~  $16.00  ~  64 pages ~ Paper  ~  ISBN 978-0-9840310-3-0

 

The Last ResortThe Last Resort, A Lee Malone Adventure by Pat Nolan
Pat Nolan has written a fast paced, tongue-in-cheek, pun filled comedy of errors, misunderstandings, and faux intuition in the mode of a 1930’s pulp thriller to talk about the pulp fiction of that era.  In doing so, The Last Resort presents an unlikely set of circumstances in which a worldly-wise female reporter must untangle herself from her past in order to deal with the puzzling events of her present.  Rather than the typical splinter-jawed, broken nosed, tobacco breathed tough guy hero, Nolan upends the stereotype by introducing a gorgeous internationally famous former fashion model whose super power is her beauty.  The Last Resort, A Lee Malone Adventure, is a quirky, entertaining recreation of the lurid screed that once peopled pulp pages on newsstands everywhere.

August 2012 ~ $19.99 ~ 212 pages ~ Paper~ ISBN 978-0-9840310-2-3

ontheroadfront300On The Road To Las Cruces, Being A Novel Account of The Last Day In The Life of A Legendary Western Lawman by Pat Nolan
On The Road To Las Cruces, a work of fiction tethered loosely to historical fact, is the story of the relationship between two men, one garrulous, the other taciturn, the Mutt and Jeff of the old Southwest.  What is related on the road to Las Cruces is as much a retelling of some history as it is how such a retelling might come about, and is represented in the manner of a tall tale, the deadpan details of a crime story, melodrama, and a conspiracy to murder. The road to Las Cruces is full of twists and turns.  The sound of a door slamming like a gunshot brings us into the world of the old Southwest and the gun violence of that historical era.  More than just the tale of a legendary lawman who remains nameless to the end, it is a lesson in storytelling and an allegory for how lives were lived and how death was dealt.  As much a dusty tale of buffalo hunts and shoot-outs as a politically driven “whodunit,” On The Road To Las Cruces is the story of youthful bravado and an old man’s regret.

November, 2011 ~ $16.99 ~ 154 pages ~ paper ~ ISBN 978-0-9840310-1-6


bambooleafchopNualláin House, Publishers, in partnership with Bamboo Leaf Studio, will continue to offer its series of linoleum block print portraits entitled Smoking Poets featuring such literary luminaries as Dylan Thomas, Roberto Bolano, and Charles Bukowski.

Also available from Bamboo Leaf Studio are selection of Buddhist-inspired prints featuring faux homilies for the 21st Century. All linoleum block prints are hand printed on unbleached mulberry washi and signed by the artist with his seal.Order through Nualláin House, Publishers Box 798, Monte Rio, CA 95462

JUST IN TIME FOR THE HOLIDAYS

5 Dec

JUST IN TIME FOR THE HOLIDAYS

Free shipping (US only) and a deep discount on
the Nualláin House, Publishers back list.

Order Now!
(offer ends December 31, 2014)


Order all four titles and save even more!

Get all four Nualláin House titles for just $50!!
Save almost $20!!!

Bonus !!

with every purchase get a limited edition signed
broadside featuring the poem Advice To A Young Poet
from Pat Nolan’s Your Name Here
and an original linoleum print of Dylan Thomas
from Pat Nolan’s Smoking Poets series
Iota Brdside DT

 How To Order
send cash, check or money order
(made out to ‘Pat Nolan’) to
Nualláin House, Publishers
Box 798  Monte Rio, CA 95462
and indicate the title(s) you are purchasing


nulogorevjpNualláin House, Publishers in partnership bambooleafchopwith Bamboo Leaf Studio
is offering two new prints from 
Pat Nolan’s Smoking Poets series


Also available from Bamboo Leaf Studio are a selection of Pat Nolan’s Buddhist-inspired prints

 

All linoleum block prints are hand printed on unbleached mulberry washi
and signed by the artist with his seal.
Order through Nualláin House, Publishers
Box 798, Monte Rio, CA 95462
Make check or money order payable to Pat Nolan.
Add $5 for shipping and handling for each order.

Nualláin House So Far

17 Jan

HELLOLIFEjHello Life by Gail King
Poetry; The poems of Hello Life achieve their freshness in the particularity of experience. The poet surrenders herself to the moment and tenders that subtle cognition as a delighted welcome to life. The ease of her expression in dealing with the everyday communicates an uncommon wisdom. The poems present, through playful understatement and sly humor, the immediacy of spontaneous impressions. Maureen Owen, former artistic director for The Poetry Project in NYC and author of Edges of Water and Erosion’s Pull, says In Gail King’s poems the events of the day become transformative, the images of the temporary become immediate, and the mystery of being alive in the Now unfolds. “…time like a lake breeze” says the poet, and the wind rises.” Gail King’s poems have also won the praise of Andrei Codrescu, poet, novelist, essayist and NPR commentator, author of So Recent Rent A World, who said “Reading Gail King has always been one of my great poetry pleasures. Her inimitable voice narrates the world with humor and tenderness, a world of beauty and occasional sorrow. Her work has healing effects.”
December 2013  ~  $16.00  ~  64 pages ~ Paper  ~  ISBN 978-0-9840310-3-0

 

The Last ResortThe Last Resort, A Lee Malone Adventure by Pat Nolan
Meta Pulp– Pat Nolan has written a fast paced, tongue-in-cheek, pun filled comedy of errors, misunderstandings, and faux intuition in the mode of a 1930’s pulp thriller to talk about the pulp fiction of that era.  In doing so, The Last Resort presents an unlikely set of circumstances in which a worldly-wise female reporter must untangle herself from her past in order to deal with the puzzling events of her present.  Rather than the typical splinter-jawed, broken nosed, tobacco breathed tough guy hero, Nolan upends the stereotype by introducing a gorgeous internationally famous former fashion model whose super power is her beauty.  THE LAST RESORT, A Lee Malone Adventure, is a quirky, entertaining recreation of the lurid screed that once peopled pulp pages on newsstands everywhere.
August 2012 ~ $19.99 ~ 212 pages ~ Paper~ ISBN 978-0-9840310-2-3

“Has-been supermodel Lee Malone retains her drop-dead gorgeous looks—and haute couture wardrobe—and uses them every chance she gets to solve a murder mystery and live to write about it in The Last Resort: A Lee Malone Adventure. Author Pat Nolan sets this labyrinthine adventure in his home turf along the Russian River communities, renamed the Corkscrew River in the book. Having survived a botched kidnap attempt and a rescue by a secret female militia, Malone seeks the “quiet life” among the redwoods. She writes puff pieces for the Corkscrew County Grapevine, but stumbles into a deeper, more sinister story. Nolan weaves his heroine’s backstory throughout, touching on issues of homelessness, sex slavery, pornography and ever-changing relationships in river communities, while retaining a sense of humor and comic relief.”
— North Bay Bohemian, Fall Literary Issue, 2012

                  

ontheroadfront300On The Road To Las Cruces, Being A Novel Account of The Last Day In The Life of A Legendary Western Lawman by Pat Nolan
Historical Fiction; On The Road To Las Cruces, a work of fiction tethered loosely to historical fact, is the story of the relationship between two men, one garrulous, the other taciturn, the Mutt and Jeff of the old Southwest.  What is related on the road to Las Cruces is as much a retelling of some history as it is how such a retelling might come about, and is represented in the manner of a tall tale, the deadpan details of a crime story, melodrama, and a conspiracy to murder. The road to Las Cruces is full of twists and turns.  The sound of a door slamming like a gunshot brings us into the world of the old Southwest and the gun violence of that historical era.  More than just the tale of a legendary lawman who remains nameless to the end, it is a lesson in storytelling and an allegory for how lives were lived and how death was dealt.  As much a dusty tale of buffalo hunts and shoot-outs as a politically driven “whodunit,” On The Road To Las Cruces is the story of youthful bravado and an old man’s regret.
November, 2011 ~ $16.99 ~ 154 pages ~ paper ~ ISBN 978-0-9840310-1-6

   “. . . a real old-fashioned Western. Page-turner. There are all sorts of funny sly mixes in the story, good Nolan humor, great repartee. . . .” – Andrei Codrescu, NPR commentator and author of Whatever Gets You Through The Night.                              

“Pat Nolan is not only one of our finest living poets. . . but now surprises with a prose paean to the West. Whatever Pat writes deserves to be read and remembered.” – Barry Gifford, author of Wild At Heart and Sailor And Lula

                                                                                                                    

 

 

 

 

DICK LIT: Q&A with Pat Nolan

3 Mar

warning uspoet
Q: You’re known primarily for your poetry, why are you now writing fiction?

A:  Actually when I first thought to write, I wanted to write fiction.  Novels, short stories.

Q:  What turned you to poetry?

A:  A wider experience of reading, other than the best sellers on the paperback racks at the corner drug store and the science fiction shelf at the local library.  I came to reading late but once I did I was a voracious reader. By the time I graduated from high school I knew there was more to reading than just pop fiction.

Q:  Wasn’t your reading guided by what you were taught in the classroom?

A:  I was an indifferent student.  Most of my reading centered around what I discovered for myself.  While in the Navy I was lucky to have shipmates who were quite literate.  Everyone in my rating read. A couple of guys even had some college under their belts.  Paperbacks were a regular item of exchange, mostly westerns, crime fiction, smut.  Lady Chatterley’s Lover made the rounds.  For obvious reasons. And Miller’s Tropics.  I was into Kerouac then, and always on the lookout for more by him.  Someone suggested that I check out a bookstore in San Diego where my ship was stationed.  I’d never been to a bookstore before, a real bookstore that wasn’t a news stand or the book section in a department store.

Q:  I find that shocking.  How old were you then?

A:  Oh, eighteen, nineteen.  And I think I was a little intimidated by the place.  It was a small store front on a side street crammed to the rafters with books.  I’d never seen so many books outside of a library.  Anyway, I asked after any new Kerouac titles but they only had ones I’d already read.  The clerk showed me a book by someone he said was a friend of Kerouac’s.  It was A Coney Island Of The Mind by Lawrence Ferlinghetti.  Poetry.  I think I bought it just so I could get out of there and not feel like a complete idiot.

Q:  Did you start writing poetry then?

A:  Not really.  I mean, I’d already tried my hand at writing poems so I had a notion of what a poem was, a conventional Romantic notion, and it had to do with expressing emotions toward a loved one, usually an indifferent unresponsive young woman.  They were all very ardent.  No one ever saw them.  I wasn’t very serious about it, anyway.

Q:  You must have become serious eventually.

A:  Yes, eventually.  One thing leads to another.  I started including poetry in my reading .  I can’t say I got all that was going on.  It wasn’t like reading popular fiction.  But it was interesting, challenging.  I came across Don Allen’s New American Poetry.  That was a revelation.  And I started noting references to names of other poets and writers.  Baudelaire, Rimbaud, Pound, Williams.  So I began looking into those guys, and they led me to other writers and poets.  At one point all my reading was taken up with tracking down a wider variety of writers and finding out more about them, their writing.

Q:  Were you also writing poetry at this time?

A:  That kind of went hand in hand with my reading.  In order to understand what the poets were doing I had to try to replicate what they were doing in a kind of reverse engineering.  It’s not as easy as it sounds.  I was concentrating on contemporary American poets for the most part, and it was pretty much anything goes, or that’s what it seemed like.  Looking back, I can see that I was really just pissing in the wind.

Q:  Yet you were published in some pretty impressive magazines.  Rolling Stone, The Paris Review, Exquisite Corpse.  And in a number of anthologies.  Don’t you think you were doing something right?

A:  Well, thanks to the kindness of strangers and the indulgence of friends. Not without some trepidation on my part, I have to say.  Success tends to complicate things.

Q:  So after many years you’ve turned back to fiction.  Why?

A:  I never turned away from fiction.  It’s just that the learning curve with poetry is steeper and requires greater diligence.  Around the same time that I had my first book published and was invited to read at the Poetry Project in New York City, I had also written two novels, one of which remained in draft form, and the other as a final manuscript. That was the first version of the western.  Even though I was experiencing relative success as a poet, writing novels was never out as an option.  And novels are a different kind of challenge.  Physically, logistically, especially back when everything was written on a typewriter.  Large chunks of specific time are required.  I feel like I could probably write poetry on the run, but the writing of a novel, for me at least, requires consistency, more sit down time.  And back then, a lot of white out, scissors, glue.  The construction of a final draft was an engineering feat.   Sorting through the renumbered pages with whole blocks of writing crossed out and painstakingly stitching it all back together.  Just the thought of it makes me shudder.

Q: What became of those early novels?

A:  The western made the rounds of agents and publishers but no one was interested.  Thankfully.  And the first draft novel was recycled into a general idea for a story.  I kept the title and the locale.

Q:  One of your recently published novels, On The Road To Las Cruces, is a western.  Is this the same novel?

A:  It’s the same subject, but the narrative has changed considerably.  Even though I had put it aside, the story and the need to tell it stayed with me, and I would go back and rewrite parts or scribble in the margins my additions or redirections.  That went on for several years and finally computers caught up with me and I spent many hours transcribing my typewritten poetry manuscripts as computer documents.  I also transcribed my western which allowed me to incorporate some of the revisions I had arrived at.  And in the process of transcribing, I also rewrote.

Q:  Technology benefitted your processes, in other words.

A:  Technology always changes the way you do business.  Writing a novel is no different.  And as an added advantage, word processors allow, among other things, cut and paste techniques at one time available only to film editors.

Q:  Are you utilizing those tools the way they are in the cinema?

A:  In a way, yes, because cinema is a popular story telling art that uses narrative in interesting, innovative ways.  In doing so, certain idioms are coined, clichés generated.  Telling the story on the page can utilize these idioms, techniques, in similar ways since the reading audience and movie goers overlap and recognize the tropes.  I was particularly conscious of using cinematic techniques in the western, mainly because of the complexity of trying to tell the story on three different levels.  There’s the narrative that takes place in real time, the one that takes place in the recent past, and the narrative that’s as a result of introspection and  dialogue with a ghost.

Q:  Did you also use cinematic techniques in the novel you published last year, The Last Resort?

A:  The narrative in The Last Resort has a fairly straight forward first person camera eye chronology with an extended back story flash back that serves as the booster rocket into the wrap up.  There’s also the  cinematic technique of the cliffhanger, the Saturday matinee movie serial.  The chapters, which for the most part are all roughly the same length, end abruptly or as jump cuts.

Q:  You’ve subtitled the novel A Lee Malone Adventure

A:  Lee Malone is based on a character I created for a serial I wrote for a local weekly newspaper years ago about a supermodel sleuth.  I had started some preliminary chapters for another serial when the editorship changed hands and the newspaper was no longer interested in the material. These odds and ends of fiction were among the last to be transcribed as computer documents, and I didn’t pay that much attention to them until some years after that when I read a couple chapters to a few writers I know.  Their reaction told me that I might be on to something.  So I pursued it.

Q:  Your first person narrator is a woman.  Why a woman, and who is she?

A:  Lee Malone is a stereotypical beautiful woman, former international model circa 1985.  What makes her interesting is how she tries to circumvent that cliché and become an authentic person .  In the very limited realm of a not overly realistic genre storyline, of course.  The  protagonist for these kinds of escapades is usually a tough guy with a broken nose, a five o’clock shadow, and breath that can pickle squid.  I was after something different.

Q:  The Last Resort was published in 2012.  Why is the setting in 1985?  Why not a more contemporaneous time?

A:  I had started the early chapters in 1985.  And rather than go back and retool the time frame to something more current, I decided to stick with it and avoid as many anachronisms as possible.  No cell phones or internet back then so that allowed a slower unfolding of the plot and a more leisurely development of the back story on Lee Malone.

Q:  You portray Lee Malone as rather willful.

A:  She has a cocksureness instilled by her life of privilege as a beauty.  And she knows how to use her looks to get what she wants.  But there’s a down side, and that is that all men lust after her and most women hate her.  Her aloofness is also a tragic flaw.  Men are cowed by her imperiousness and women suspect her of treachery.  Consequently she is alone.

Q:  You’ve published two genre novels, one a western and the other a pot boiler.  Are you seeking a conventional audience as opposed to one that was primarily interested in your poetry?

A:  The interest in my poetry in a very qualified sense has always been limited.  I don’t expect that my novels will be read by many more people, conventional or otherwise.  Given that the novels are written by a poet, conventionality was never a consideration.  Other than to label them genre works. Also this imagined audience will undoubtedly encompass many who have read my poems. Anyway, the idea of an audience for my work is always problematic.  I don’t think that my subject matter and how I approach it has universal appeal.  What I write about and how I write might find more support among men than woman.   The western is about gun violence, and the pot boiler, as you characterize it, is about titillation.  These are two things that fascinate men, sex and death.

Q:  Are there more macho centric gender specific novels in your future?

A:  I’m currently working on two crime fiction novels and a series of short stories in the same genre.  They’re detective stories, dick lit, if you will. Dick signifying slang for detective, of course, not the male sexual organ. One is titled simply, A Detective Story, and the other is in between titles right now.

Q:  Why crime fiction, dick lit, rather than something more universal that appeals to everyone?

A:  Crime fiction actually has a universal appeal, at least since Poe, who is said to have pioneered the detective story.  It is essentially comedy, sometimes quite dark, and situational, often improbable.  I feel comfortable with the conventions of genre fiction.  One novel, a period piece set in the 40’s before the war, is an attempt to represent the kind of writing that was being published in the pulp magazines with a little twist of  French surrealism.  The other might be characterized, in an 8 second Mamet pitch, as young Philip Marlowe in the  21st century.

Q:  Let me see if I have that right, you’re writing genre novels in order to write about genre novels.  Would you call that meta-fiction?

A:  I might, but I don’t exactly know what that is.  My characters are fictional, there’s no pretense that they are anyone beyond the page, even if they represent figures in regional history or in the history of fiction.  Every time I sit down to write a poem I am writing the history of poetry. Not in any grand ultimate critique, but in the relationship between myself and poetry.   In the same way, when I sit down to write a novel I am writing the history of fiction.  I have a hyper awareness of what has been written and I naturally factor that into the process

Q:  You’re mimicking a style appropriate to the story you’re telling.  Is that how you approach writing all your novels?

A:  I don’t know.  I’ve only written two so far. But yes, there is an awareness of the genre that determines how, stylistically, it is written.  Writing novel scale fiction requires a degree of engineering, of being more than just a voice but a writer director producer set designer camera lights action.  I assume that anytime a story is told some kind of mimicry is going on.

Q:  For example.

A:  Um, for example, ok.  Well, after the first version of my western was rejected, I was still enjoying my readings in the history of the old Southwest.  This is a subject that had also fascinated me as a young reader.  The more I read, the more of a historical sense I got of the people, the actors upon whom western legends are based.  I read authors from that period, Owen Wister for instance, author of The Virginian, contemporary accounts by Charlie Siringo, and modern regional authors like J. Frank Dobie to get a sense of how the stories of that time were told.  In rewriting the western, I had those voices to accompany me in the telling of my story. Or stories, as there are four stories, told by different storytellers or story telling devices.  What I was after was an underlying tone, a lingering in the language from that time.  In doing so, I didn’t write a conventional western.  It is more matter of fact, laconic, about a subject that has been mined repeatedly.  I gave it a different spin.

Q:  You refer to your reading quite a bit.  How much of a role does reading play in your writing?

A:  Reading is the other side of the coin.  I spend as much time reading as I do writing, maybe more.  I don’t read much fiction though.  I read primarily to satisfy my curiosity about particular subjects.  Neuroscience or cosmology, the micro and the macro of it all.  Sociology, anthropology, history.  These are areas of scholarship that continue to interest me.  To speculate on any of these subjects is what engages the imagination for me.  Coming at it from another way, writing genre novels is a reaching back to the reading that I enjoyed so much when I was younger and inspired me to think I could be a writer, a time of innocence that existed before I stepped into the world of serious literature.

Q:  Now that you are heavily committed to novel pursuits, have you put aside writing poetry for the time being?  Or for good?

A:  Yes, for the good of poetry, I should actually stop, but no, that obsession continues unabated.  And it’s not like I put on a different hat when I sit down to do one or the other.   To paraphrase Philip Whalen, it is something I do all day, every day.  I give the novels the same attention and concentration I give to my poetry.  And the fact that I am primarily a poet simply means that I bring a peculiar sense of language to the table.  These novels might easily be considered very long prose poems, poems on an epic scale.

Based on an interview conducted by Suzanne Lang for A Novel Idea aired on KRCB FM (Rohnert Park, CA) February 13th, 2013; edited, condensed, with material added for continuity and coherence.

Terms, Conditions & Categories

1 Jul

Nualláin − (pronounced Noo-al-ayne) Celtic for the family name, Nolan, meaning noble or famous.  The Irish writer Brian O’Nualláin was also known as Brian O’Nolan, as well as by his most famous pseudonym, Flann O’Brien, author of At Swim-Two-Birds, The Third Policeman and The Dalkey Archives.
House – a business organization of like minded folk, kindred in their interest in the creative, bringing together years of experience in writing, self-publishing, book design, and book selling under one roof, peaked, in the shape of an open book (see logo on the masthead).
Publishers – a business or profession intent on making available literature of a particular genre, be it fiction, poetry or non-fiction, and often entered into more for personal satisfaction than financial gain.  The year 2011 marked the centennial of Brian O’Nualláin’s birth, a fitting beginning for Nualláin House, Publishers, and the publication of ON THE ROAD TO LAS CRUCES, A Novel Account of The Last Day In The Life of A Legendary Western Lawman by Pat Nolan (November, 2011).  Nualláin House, Publishers, will proceed on the assumption that what appeals to the editors might well appeal to other reasonably literate, intellectually curious readers.
Fiction – that which is made up, imaginatively, under the assumptions of possibility more than its probability irrespective of the truth; in short, fanciful lies.  Under the heading of fanciful lies, coming soon: THE LAST RESORT, A Lee Malone Adventure by Pat Nolan (August, 2012).
Poetry – the evil of banality.
Non-Fiction – not fiction.
Whimsy – capricious, eccentric, unpredictable and erratic (see Quirky).
Quirky – an abrupt twist or curve, idiosyncratic (see Whimsy).
Future – that which has the potential of occurring but has yet to occur and which will come to pass through the present however at a point in time yet to be determined.  Or to repurpose Rabelais’ last words, the “vast perhaps.”  Future titles from Nualláin House, Publishers in the crime fiction/ neo-pulp genre include BLACK MASK, A Detective Story, A GOOD LOOKING CORPSE, GONE MISSING, and PH FACTORAlso under the “vast perhaps” heading, selected, collected poems, and limited editions.  All titles will eventually be issued as eBooks.  Blog posts of reviews, interviews and commentary by noted authors will be a feature of the Nualláin House, Publishers site as well.
eBooks – at present, the eBook format taxes the technologically challenged and DIY mentality of Nualláin House, Publishers’ production designer.  Suffice it to say, all titles will eventually be issued as eBooks (see Future).  In the meantime, pdf files of sample chapters and limited edition poetry books will be made available on a regular basis with the compliments of Nualláin House, Publishers (see Future, Sample Chapters, and Limited Editions).
Comments – while this site encourages feedback, the comments feature has been disabled.  If readers wish to register feedback and/or commentary, their responses are more than welcome via email or snail mail (see Contact).
Manuscripts – unsolicited manuscripts are discouraged.
Contact – nuallainhousepublishers@gmail.com or Nualláin House, Publishers  Box 798 Monte Rio, CA 95462
Sample Chapters – sample chapters will be available as posts and as a feature of that title’s page.
Expectations – Great.  However, many years of experience in the literary world (see House) has demonstrated the need for caution in this category.
FacebookNualláin House, Publishers has a Facebook page.  Tell your Facebook friends.
Limited Editions – In the months to come (see Future), Nualláin House, Publishers will make available pdf files of rare and limited editions of poetry books from such presses as Re:Issue Press, On The Fly Press, Last Cookie Press, Editions de Jacob, Bamboo Studio, Empty Head Press, Egret Moon, and Not My Hat Press featuring such titles as Fly By Night, Later, Carbon Data, Intellectual Pretensions, Thin Wings, Untouched By Rain, Ah Bolinas!, Exile In Paradise, and Jacks Or Better.
POS – the Nualláin House, Publishers site remains the primary point of sale.  Titles are available at their advertised price plus $5 shipping & handling.  Institutional, bookstore, and cash discounts are available upon inquiry.  Orders can be placed through email or via the postal address (see Contact).  Make checks or money orders payable to ‘Pat Nolan.’
Copyright – all material on the Nualláin House, Publishers site is copyright © byNualláin House, Publishers or by its specific authors and may not be used or reproduced without the express permission of the copyright holder.

 

 

 

 

 

ON THE ROAD TO LAS CRUCES

28 Jun

ON THE ROAD TO LAS CRUCES; Being A Novel Account of The Last Day In The Life of A Legendary Western Lawman

by Pat Nolan

Available Now from Nualláin House, Publishers  Box 798 Monte Rio, CA 95462   $16.99 + $5.00 shipping and handling

Pat Nolan’s first published novel, On The Road To Last Cruces; Being A Novel Account of The Last Day In The Life of A Legendary Western Lawman is the story of youthful bravado and an old man’s regret, and as much a dusty tale of buffalo hunts and shoot-outs as a politically driven “whodunit.”

Steeped in the lore of Western radio dramas, cliff-hanging serials, B Oaters, pulp shoot-em ups, and a steady diet of prime-time horse operas, it seems only fitting that Pat Nolan would have distilled his adolescent exposure into a seminal prose of understatement.  The violence in a man’s life, linked by subtle segues, passes as something not particularly unusual.  The consequences are not always evident on a path drawn by blind fate.  Nor is the identity of the Western lawman immediately apparent, as is obviously the author’s intent.  For those familiar with gunfighter sagas, catching the drift will be easy.

Pat Nolan starts right off by telling us what is going to happen, he then lays out the circumstances to what is about to happen, and finally we are privy to the last moment and its irresolution. Along the way, when the tools of law include deadly force, there are bound to be killings.  However there are no showdowns, no heroics, no fancy horsemanship, no arduous adversity, merely pain and regret, bitterness and rancor, and the consequences of another misstep.  It is a tragedy that lends itself to allegory.  It is lament as well as praise for a misunderstood legend of the Southwest.

            On The Road To Las Cruces is a work of fiction tethered loosely to historical fact.  It is the story of the relationship between two men, one garrulous, the other taciturn, the Mutt and Jeff of the old Southwest, and the tradition of storytelling and the authoring of ‘true’ accounts.  What is related on the road to Las Cruces is as much a retelling of some history as it is how such a retelling might come about, and is represented in the manner of a tall tale, the deadpan details of a crime story, melodrama, and a conspiracy to murder.

November, 2011 ~ $16.99 ~ 154 pages ~  978-0-9840310-1-6

Sample Chapters On The Road To Las Cruces Chapter 6  On The Road To Las Cruces Chapter 21   Author’s Note                       

“. . . a real old-fashioned Western.  Page-turner.  There are all sorts of funny sly mixes in the story, good Nolan humor, great repartee. . . .”
– Andrei Codrescu, NPR commentator and author of Whatever Gets You Through The Night.

“Pat Nolan is not only one of our finest living poets. . . but now surprises with a prose paean to the West.  Whatever Pat writes deserves to be read and remembered.”
– Barry Gifford, author of Wild At Heart and Sailor And Lula               

“. . . delight in the narrative style.  [T]ruly vivid. . . .  The book is damn good.”
– Eric Johnson, poet and master printer, Iota Press

“Pat Nolan has added a fresh chapter to our Western lore with this fine, crackling tale.”
– Bart Schneider, author of Nameless Dame and The Man In The Blizzard

“On the Road to Las Cruces takes us on a twilight journey through frontier history.  Nolan’s adroit and stylish prose intertwines death, betrayal, greed and conspiracy as each claims its victims.”
– Keith Abbott, author of Downstream From Trout Fishing In America

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