Kitty Donohoe's sixth album, The Irishman's Daughter, was a long time in the making for a variety of reasons: financial, personal, artistic. But the finished result is a testament to her perseverance and talent.

The CD's 12 songs swing from the instrumentals "Leaving the Land / Ships Are Sailing," "Chicago Jig / Chicago Reel," and "Star of the County Down" to the mostly instrumental "Sneaking Up the Hill" and the primarily a capella original "Working for Mrs. O'Leary. "Fish on Fridays" is her humorous ode to growing up in a non-Catholic Irish-American household, and there are also full-bodied interpretations of Irish classics "The Lark in the Morning" (featuring her daughter Callie on harmonies), "Bold Jack Donohoe," and "Bonny Blue-Eyed Nancy" (with her son Jesse singing lead).

Donohoe closes the album with four originals, including "Abe Lincoln's Army," "Sneaking Up the Hill," and "Ireland Song," but it's the closing title track that really marks "The Irishman's Daughter" as a highly personal project.

"This song kind of sums up for me what it was like to be raised by a maverick man, an original thinker, and a truly proud Irish American," Donohoe writes in the liner notes about her dad.

Despite this third generation Irish-American's connection to her ancestral homeland, Donohoe's influences aren't strictly from the Emerald Isle. There are elements of French-Canadian music, with its button accordions and rhythmic rushes, as well as American folk and country woven into her songs and arrangements. Her voice is bell clear, too, with an occasional twang.

Conor O'Neill's Irish Pub & Restaurant in Ann Arbor will host the official release party for The Irishman's Daughter on Sunday, April 30, at 5:30 pm. We talked to Donohoe about the album, her guided trips to Ireland, and The Yellow Room Gang songwriting collective.

It's hard not to get caught up in Rich Fahle's enthusiasm for the Midwest Literary Walk, which strolls through downtown Chelsea on Saturday, April 29, offering readings and author meet-and-greets.

"The lineup for the Midwest Literary Walk this year is one of our very best, and this year represents an amazing array of authors who work or live in Michigan," said Fahle, a member of the festival's organizing committee and the executive producer of PBS's Book View Now.

The free event also includes Washington, D.C.-area poet, author, and former Newbery Medal winner Kwame Alexander, but the majority of the Midwest Literary Walk's roster lives in The Mitten and has a connection to the University of Michigan.

"That lineup includes Peter Ho Davies and Derek Palacio, both of whom teach at the University of Michigan and have books that appeared on many best-of 2016 lists, including The New York Times," Fahle said. "Heather Ann Thompson is a professor of history at the University of Michigan, a National Book Award finalist, and Pulitzer Prize winner. And Airea D. Matthews lives in Detroit but she is the former assistant director of the Helen Zell Writers’ Program at the University of Michigan where she also earned her M.F.A."

The five author events are all within walking distance of one another, and there's time between events to duck in and out of Chelsea's downtown stores. The event wraps up at 5 pm, which is the perfect time to grab dinner at one of the town's restaurants, or you can continue the literary chat session at the Chelsea Alehouse, which is hosting the afterparty.

We interviewed Fahle about the Midwest Literary Walk's history, its spirit, and other things to look out for in downtown Chelsea.

Downloads:
➥ 720p video, 480p video or 240p video

It's hard to believe FoolMoon 2017 took place a few weeks ago; we're still glowing from the April 7 event and it has nothing to do with the neon paint we still can't get off our bodies.

To keep the FoolMoon vibes illuminated a bit longer, our talented photographer and videographer Tom Smith combined some images from the event with the techno track "bland western charm" from the album chromedecay tracks pt. 2: 2001-2005 by Bill Van Loo. (The Ypsilanti-based Van Loo also did one of our Tools Crew Live performances; check out the videos here.)

As the FoolMoon afterglow begins to fade, keep this page bookmarked for emergency illumination.

Christopher Porter is a library technician and the editor of Pulp.

Peter Mulvey is a monster guitar player, able to coax supple, intricate, highly ornamented melodies out of his acoustic six-string as well as spiky, serrated harmonies. He’s equally adept at pinging out soft, atmospheric harmonics or pounding rapid, rhythmic riffs and percussive, danceable grooves that make you crane to see where the bass player and drummer are hiding. His guitar does not merely accompany his singing, it also dialogs with it.

And then there’s his way with words.

Downloads:
➥ MP3 for "Library Jam 1"
➥ 720p video, 480p video or 240p video

Tools Crew Live is an ongoing video series where we invite artists to perform with gear borrowed from the Ann Arbor District Library's Music Tools collection: aadl.org/musictools.

Mogi Grumbles, the nom de plume of Alex Taam, sounds like a villain in a Superman comic. But the name's origin story isn't quite so heroic.

"It was a nickname given to me around the time I first started publishing my music," Taam said. "From how I understand it, it was a rap lyric originally from my friend Ian. He came up with the name in the song, but then it got dubbed to me because I was such an 'curmudgeon.' ... The name stuck, my label liked it, so there it is."

Those 2009 releases on Moodgadget -- Revolutions Per Minute and the split Worst Friends vs. Mogi Grumbles -- launched Taam's music career, which has expanded into videogame soundtrack work, rescores of classic movies, and studio recording and mastering for other artists.

The two Mogi Grumbles songs Taam composed for the third installment of the Ann Arbor District Library's Tools Crew Live series are called "Library Jam 1" and "Library Jam 2," but they could have easily been called "Retro-Futuristic Sci-Fi Soundtracks 1 & 2." Taam squeezed all the warmth out of the various keyboards he employed, making for a cozy couple of tunes that could easily accompany a voyage into deep space or a daring escape from a postapocalyptic landscape.

These videos were recorded on February 28, 2017, and a few weeks later, Taam answered questions about how he approached this session and the gear he used.

Despite the journal's name, Great Lakes Review editor John Counts is "wary of getting too deep into whether our region has its own distinct regional voice akin to American Southern literature," he said. "That question is probably best dealt with in academic dissertations. But I will say we believe great writing is something that rises above its setting."

On April 28 at Literati Bookstore, Great Lakes Review will host an event that celebrates the release of a printed collection of 2016 stories and poems that rose above their settings.

Michigan short story writer Philip Sterling), Ohio poet Justin Longacre), and Illinois poet Jessica Walsh will join Counts for an evening of readings and discussions.

We talked to Counts about how independent journals champion “riskier” writing, that elusive Midwest voice, and the role of Great Lakes-area writers during a political climate that could threaten the region's ecosystem.

The Ann Arbor Art Center’s “Whipstitch: The State of Contemporary Textiles” does the rather nifty trick of reimagining yesterday’s art today through a conceptualization of what may be the art of tomorrow.

Granted, this notion may sound convoluted, but it’s really quite simple: Fiber, like architecture, can reasonably vie as the oldest of all arts. The reason for this is quite apparent with little consideration.

Yet the art of fiber (like another such ancient art, ceramics) has been essentially aesthetically dormant for millenniums -- and this is also for the same reason already considered. For as a practical artisan regard, fiber’s use has been largely defined rigidly as either being functional or fashionable with little thought outside of this.

Fabulous Fiction Firsts #634

In Marlena * *, Julie Buntin's "(s)ensitive and smart and arrestingly beautiful debut" (Kirkus Reviews), 15 year-old Cathy (now calling herself Cat), arrived at Silver Lake, a small rural community in Northern Michigan with her newly divorced mother and older brother, determined to shed her good-girl image and reinvent herself, and was immediately drawn to the manic, beautiful, pill-popping Marlena, her next door neighbor.

Over the course of the coming weeks, the girls turned the untamed landscape of their desolate small town into a kind of playground - skipping school, running feral as Marlena introduced Cat to a new world of drinking and pills and sex and also friendship, the depth of which neither girl has experienced before. Within the year, Marlena was dead, drowned in six inches of icy water in the woods nearby.

If saxophonist Avram Fefer can play a compelling duet with a towering wall of sheet metal, chances are good he sounds great improvising with just about anyone. Which sets the bar pretty high for tonight's Kerrytown Concert House performance with longtime collaborator bassist Michael Bisio.

Fefer was recently in London for the latest session in his Resonant Sculpture Project -- which he described by email as "a series of immersive, site-specific performances exploring the relationship between improvisation, space, acoustics, permanence, and sculpture" -- during which the reedman plays at, around, and sometimes within the large-scale, minimalist creations of sculptor Richard Serra.

It's easy to imagine tonight's show going more like a conversation between old friends who happen to be experts in their fields; a two-person TED Talk on intersecting disciplines as told on reeds and strings.

Or as Bisio put it by email, "Both Avram and I tell a good musical story."

The two players, composers, and bandleaders have been telling that story together in some form since the 1990s, either in Bisio's Quartet or as a duo. Fefer's lyrical approach to sax and bass clarinet effortlessly folds in several styles to create an organic, singular sound that pairs perfectly with Bisio's limber double-bass lines and expressive bowing.

We talked with Fefer by email -- with Bisio chiming in, too -- about developing his rich, varied style; composing and tracking the duo's lone solo record in roughly 25 years of playing together; and how he got started jamming with inanimate objects.

Illustrating the principle that an artful passion can arise from the coolest of mediums, Michelle Hegyi’s “Wild Forest” manages to encapsulate both passion and discipline in a further consolidation of aesthetic strategy.

This is the fifth time I’ve caught Hegyi’s art in her WSG context. There was a streak of exhibits—June 2006’s “The shape of the Sky”; August 2008’s “Gardens of Love and Fire”; August 2010’s “Do You Remember the Shape of Trees…”; and November 2012’s “How the Day Changes with the Light”—where it was possible to chart Hegyi’s growth transitioning from old school printmaking to digital printmaking.

It’s been a privilege to see her work advancing technologically even as she consolidated her print expertise. It’s equally good to note that she’s still as restless in her study as she is in her craft.

In this instance—and working happily in the juncture between abstraction and representation—Hegyi continues to craft a hybrid computer-based painting where her abstraction is comingled with her inspiration.