Sarah Miller vividly recreates the beauty, hardship, and joys of the frontier in a dazzling work of historical fiction, a captivating story that illuminates one courageous, resilient, and loving pioneer woman as never before—Caroline Ingalls, “Ma” in Laura Ingalls Wilder’s beloved Little House books
In the frigid days of February of 1870, Caroline Ingalls and her family leave the familiar comforts of the Big Woods of Wisconsin and the warm bosom of her family for a new life in Kansas’s Indian Territory. Packing what they can carry in their wagon, Caroline, her husband, Charles, and their little girls,
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Lily King meets Patricia Highsmith in this slyly seductive debut set on an eerily beautiful farm teeming with secrets.
The drought has discontented the bees. Soil dries into sand; honeycomb stiffens into wax. But Cynthia knows how to breathe life back into her farm: offer it as an artists’ colony with free room, board, and “life experience” in exchange for backbreaking labor. Silvia, a wide-eyed graduate and would-be poet, and Ibrahim, a painter distracted by constant inspiration, are drawn to Cynthia’s offer, and soon, to each other.
But something lies beneath the surface. The Edenic farm is plagued by events that strike Silvia as ominous: taps run red,
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The arsons started on a cold November midnight and didn’t stop for months. Night after night, the people of Accomack County waited to see which building would burn down next, regarding each other at first with compassion, and later suspicion. Vigilante groups sprang up, patrolling the rural Virginia coast with cameras and camouflage. Volunteer firefighters slept at their stations. The arsonist seemed to target abandoned buildings, but local police were stretched too thin to surveil them all. Accomack was desolate—there were hundreds of abandoned buildings. And by the dozen they were burning.
“One of the year’s best and most unusual true-crime books” (Christian Science Monitor),
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From a dazzling new literary voice, a debut memoir about a young woman learning to dance tango, becoming comfortable in her own skin and in the arms of others
Tango was an unlikely choice for Meghan Flaherty. A young woman living with the scars of past trauma, she was terrified of being touched and shied away from real passion. But by her late twenties, she knew something had to change. She dug up an old dream and tried on her dancing shoes.
In tango, there’s a leader and a follower, and, traditionally, the woman follows.
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Spanning the years of the first great settlement of the West, The Removes tells the intertwining stories of fifteen-year-old Anne Cummins, frontierswoman Libbie Custer, and Libbie’s husband, the Civil War hero George Armstrong Custer. When Anne survives a surprise attack on her family’s homestead, she is thrust into a difficult life she never anticipated—living among the Cheyenne as both a captive and, eventually, a member of the tribe. Libbie, too, is thrown into a brutal, unexpected life when she marries Custer. They move to the territories with the U.S. Army, where Libbie is challenged daily and her worldview expanded: the pampered daughter of a small-town judge,
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Stacey Haney’s family has lived in the towns of Amity and Prosperity for 150 years. Struggling to support her children, in 2008 she agreed to let frackers extract natural gas from deep beneath her tiny, eight-acre farm. The initial royalty checks covered her mortgage, but she felt anything but relief: her animals had started developing mysterious illnesses, and her children became chronically sick too. Patches of grass were dying. The air and water smelled foul. Yet the energy company insisted that nothing was wrong—until Stacey and her neighbors enlisted a shrewd, relentless husband-and-wife attorney team. The ensuing investigation revealed deep rifts in Stacey’s rural community,
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