Poetry. Fiction. Cross-Genre. What would have happened had Thelma and Louise not driven off the cliff but stayed on the road? In Carla Harryman and Lyn Hejinian's picaresque novella, friendship lives on to follow eros through a polymorphic landscape where their fearless, inquisitive "we" encounters "hunger in two places at once." THE WIDE ROAD was collaboratively composed by Carla Harryman and Lyn Hejinian between 1991 and 2010. The cover art was drawn for this manuscript by the artist Nancy Blum, and this first edition is printed with two different cover designs.
“[Paula] Saunders skillfully illuminates how time heals certain wounds while deepening others. . . . A mediation of the violence of American ambition.”—The New York Times Book Review NAMED ONE OF THE BEST BOOKS OF THE YEAR BY REAL SIMPLE “A deeply involving portrait of the American postwar family” (Jennifer Egan) about sibling rivalry, dark secrets, and a young girl’s struggle with freedom and artistic desire In the years after World War II, the bleak yet beautiful plains of South Dakota still embody all the contradictions—the ruggedness and the promise—of the old frontier. This is a place where you can eat strawberries from wild vines, where lightning reveals a boundless horizon, where descendants of white settlers and native Indians continue to collide, and where, for most, there are limited options. René shares a home, a family, and a passion for dance with her older brother, Leon. Yet for all they have in common, their lives are on remarkably different paths. In contrast to René, a born spitfire, Leon is a gentle soul. The only boy in their ballet class, Leon silently endures often brutal teasing. Meanwhile, René excels at everything she touches, basking in the delighted gaze of their father, whom Leon seems to disappoint no matter how hard he tries. As the years pass, René and Leon’s parents fight with increasing frequency—and ferocity. Their father—a cattle broker—spends more time on the road, his sporadic homecomings both yearned for and dreaded by the children. And as René and Leon grow up, they grow apart. They grasp whatever they can to stay afloat—a word of praise, a grandmother’s outstretched hand, the seductive attention of a stranger—as René works to save herself, crossing the border into a larger, more hopeful world, while Leon embarks on a path of despair and self-destruction. Tender, searing, and unforgettable, The Distance Home is a profoundly American story spanning decades—a tale of haves and have-nots, of how our ideas of winning and losing, success and failure, lead us inevitably into various problems with empathy and caring for one another. It’s a portrait of beauty and brutality in which the author’s compassionate narration allows us to sympathize, in turn, with everyone involved. “A riveting family saga for the ages . . . one of the best books I’ve read in years.”—Mary Karr “Saunders’ debut is an exquisite, searing portrait of family and of people coping with whatever life throws at them while trying to keep close to one another.”—Booklist (starred review)
Archer B. Gilfillan was an anomaly. An Ivy League scholar with a broad knowledge of classical literature and a talent for writing, he nonetheless chose to herd sheep from 1916 to 1934 in a lonely, isolated part of the West. Out of this strange juxtaposition of expertise and experience, Gilfillan produced this classic narrative of American sheepherding. First published in 1929, Sheep: Life on the South Dakota Range provides a personal, informative, and entertaining account of the western sheepherder. From blizzards to predatory wolves, from grass-crazed sheep in the springtime to penny-pinching bosses, Gilfillan misses nothing. He also volunteers his trenchant opinions on modern women, cowboys, and homesteaders--many of whom were his neighbors. In his introduction, Richard W. Etulain, director of the Center for the American West at the University of New Mexico, describes Gilfillan's life and discusses the appeal of the wide-open West to an urban-industrial nation.
The astonishing, powerful debut by the winner of a 2016 Whiting Writers' Award WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics. —from “WHEREAS Statements” WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.
“A deeply spiritual, deeply moving book” about life on the Great Plains, by the New York Times–bestselling author of The Cloister Walk (The New York Times Book Review). “With humor and lyrical grace,” Kathleen Norris meditates on a place in the American landscape that is at once desolate and sublime, harsh and forgiving, steeped in history and myth (San Francisco Chronicle). A combination of reporting and reflection, Dakota reminds us that wherever we go, we chart our own spiritual geography.
In her second collection of poems, Lee Ann Roripaugh probes themes of mixed-race female identities, evoking the molting processes of snakes and insects who shed their skins and shells as an ongoing metaphor for transformation of self. Intertwining contemporary renditions of traditional Japanese myths and fairy tales with poems that explore the landscape of childhood and early adolescence, she blurs the boundaries between myth and memory, between real and imagined selves. This collection explores cultural, psychological, and physical liminalities and exposes the diasporic arc cast by first-generation Asian American mothers and their second-generation daughters, revealing a desire for metamorphosis of self through time, geography, culture, and myth.
The life story of the founder of ADC, from his parents' farm in South Dakota to the halls of the Senate, where he refused to compromise his principles.
Lady Murasaki wrote in The Tale of Genji that thirty-seven is “a dangerous year” for women. Evoking the styles of Murasaki and other women writers of the Heian-period Japanese court, Lee Ann Roripaugh presents a collection of confessional poems charting the course of that perilous year. Roripaugh, in both an homage to and a dialogue with women writers of the past, explores the trials of women facing the treacherous waters of time while losing none of the grace and decadence of femininity. Often calling upon the passing of the seasons and revelations of nature, these lyrically elegant poems chronicle the dangers and delights of a range of issues facing contemporary women—from bisexuality and biracial culture and identity, to restless nights and lingering memories of the past. The pleasures of the senses collide with parallels of time and the natural world; tangible solitude lies down beside wistful memories of relationships gone by. What is ultimately revealed is both heartbreaking and illuminating. At once provocative, humorous, and bittersweet, On the Cusp of a Dangerous Year is a pillow book for the twenty-first century, providing a candid and whimsical look into the often tumultuous universe of the modern woman.
