David, Betsy, and Sammy Berman were nine, six, and four years old in May 1943 when the U.S. Army sent their father, Dr. Reuben Berman, to Europe. Over the next two and a half years, the children regularly gathered around their mother, Isabel, in their Minneapolis home while she typed exactly what they wanted to say to their father. This collection of more than 340 letters, selected from more than a thousand exchanged by the Berman family via V-mail, captures the anxiety and loss that children experienced when their fathers left for war.
In this collection of seven stories, there are winners and takers, and they all deal with: --DOD, Death on Demand. All are suspenseful in one way or another. The first being, "The Rape of Angelina..." Here you see revenge, as death waits. In the second story, "The Seventh Born Son," you witness hate at its worse. It demands death to its taker. In the third story, "The Dead Vault," you witness righteousness, and power playing a most interesting game, again death demands its rights. In the forth story, "The Senator from Lima," you walk into a nest of gangsters, all the takers, who make the winners, but there is a price, and again death is on the menu. In the following next three stories, "... Tides of Winter," and "The Old Man of Chickamauga" along with, "The Camel Market," death lingers close by, if not directly, indirectly.
"Born on the first day of 1900, Dorie finds herself at odds with the world and out of options. When she married Louie LaValle, a local man with an inherited farm, but not the talent or stamina to run it, Dorie is anchored in poverty, childless and tied to someone she doesn't love. Prohibition and desperation inspire Dorie to make and sell moonshine to the men in town; soon she makes more money than she ever dreamt possible. To expand production, she enlists freewheeling Victor, who builds a secret distillery in the woods. When Victor appears at her door with a gunshot wound, describing an ambush at the still, it's up to Dorie to protect her future--and Victor--against angry neighbors, a zealous sheriff and the Chicago mob."--P.  of cover.
Literary Nonfiction. African & African American Studies. Women's Studies. Carolyn Holbrook's EARTH ANGELS discovers, in the intimate spaces of daily life, contact points with visionary experience. As a mother, artist, daughter, sister, teacher, and an African-American elder, Holbrook's nonfiction unites worlds seen and unseen, domestic, intellectual, and supernatural, and weaves each narrative moment to its roots. EARTH ANGELS shows us that whenever two people meet they have a spiritual encounter in a historical context, and that this moment is both fraught and rich, reverberating through families and time. We need Carolyn Holbrook to remind us of this richness, and to demonstrate the complexity of its gifts. EARTH ANGELS is revelatory to the way mundane moments of an individual life act as a nexus for history and for the spirit world, the family, institutions and the imagination.
It's shaping up to be a beautiful Christmas season, until someone from Foxy's past winds up dead. Fearing she's being stalked by her friend's killer, Foxy flees to a resort in northern Minnesota. But trouble follows her. Setting aside their holiday plans, Robin, Cate and the rest of the No Ordinary Women book club mobilize to come to her aid, but a blizzard may keep them from getting there in time. An almost forgotten memory from Foxy's checkered past will determine whether or not she becomes the next victim.
In this poignant memoir, poet-novelist Freya Manfred recounts the artistic life and death of her father, the prolific and highly regarded author Frederick Manfred. Using family letters and passages from her father's novels as well as her own memoirs, she explores their powerful personal and literary relationship, which spanned nearly five decades. Freya manfred described what it meant to be the daughter of a strong-willed man who was dedicated, sometimes at great cost, to a creative life. Her story starts with the tender power and beauty of his funeral in 1994, then moves back to a clear-eyed and often humorous depiction of their home life, which was shaped by her father's insistence on the quiet and solitude necessary for his writing. She remembers the shift in their relationship as her literary career blossomed and he added the roles of mentor and friend. Finally, she shares frank and loving detail of her family's struggle to help her father die well.
Fiction. In five stories of genre and structure, of dissolution and fracturing, GENERICS explores the edges and ends of female identity: societal expectations of beauty, the transience of girlhood, postpartum depression, cinematic stereotypes of women in love. From a romantic comedy played in reverse to an instruction manual for women in the workplace, these stories ask us to test the fragility of genre and identity, and the assumptions that uphold them. These stories are woven together--and catalyzed by--brief, semi-autobiographical interludes that provide a connecting thread: interludes about family, growing up, and what it means to be from a place and of a people. The collection finds cohesion through this fragmentation; ultimately, GENERICS becomes a collection that talks to and about itself, crossing the boundaries of reality and fiction.