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Author Diana Stevan's sequel to the award-winning Sunflowers Under Fire. Lukia's story continues in Lilacs in the Dust Bowl, an inspirational family saga about love and heartache during the Great Depression.

In 1929, when Lukia Mazurets, a widow and a Ukrainian peasant farmer, immigrates to Canada with her four children, she has no idea the stock market is about to crash and throw the world into a deep depression. Falling grain prices, the ravages of nature, and unexpected family conflicts threaten to smash her dreams of family unity in a strange land. And when love knocks on her door again, awakening desire she thought was long gone, Lukia has to choose between having a man in her life or the children she’s sacrificed everything for.

Diana Stevan is also the author of the novels, A Cry from The Deep and The Rubber Fence and the novelette The Blue Nightgown. A former family therapist, she is the mother of two daughters and lives with her husband Robert in West Vancouver and on Vancouver Island, British Columbia.

In Erosion, Gina Caison traces how American authors and photographers have grappled with soil erosion as a material reality that shapes narratives of identity, belonging, and environment. Examining canonical American texts and photography, including John Steinbeck's The Grapes of Wrath, Octavia Butler’s Parable series, John Audubon’s Louisiana writings, and Dorothea Lange’s Migrant Mother, Caison shows how concerns over erosion reveal anxieties of disappearance that are based in the legacies of settler colonialism. Soil loss not only occupies a complex metaphorical place in the narrative of American identity; it becomes central to preserving the white settler colonial state through Indigenous dispossession and erasure. At the same time, Caison examines how Indigenous texts and art such as Lynn Riggs's play Green Grow the Lilacs, Karenne Wood’s poetry, and Monique Verdin's photography challenge colonial narratives of the continent by outlining the material stakes of soil loss for their own communities. From California to Oklahoma to North Carolina’s Outer Banks, Caison ultimately demonstrates that concerns over erosion reverberate into issues of climate change, land ownership, Indigenous sovereignty, race, and cultural and national identity.
It is the summer of 1958, and life in the small Texas community of Graham Camp should be simple and carefree. But not for twelve-year-old Sammie Tucker. Sammie has plenty of questions about her mother's "nerve" problems. About shock treatments. About whether her mother loves her. When her mother commits suicide and a not-so-favorite aunt arrives, Sammie has to choose who to trust with her deepest fears: Her best friend who has an opinion about everything, the mysterious kid from California whose own troubles plague him, or her round-faced neighbor with gentle advice and strong shoulders to cry on. Then there's the elderly widower who seems nice but has his own dark past. Trusting is one thing, but accepting the truth may be the hardest thing Sammie has ever done.
A Romantic Mystery and Adventure of a Love So Powerful It Spans Several Lifetimes. “Catherine is all the things I look for in a heroine.”—Author, Margaret Conway “Has all the elements of a great escape novel.”—Author Peggy Morehouse Strack Catherine Fitzgerald, an underwater photographer, is about to go on a hunt for an old Spanish ship. Heading the dive team is a notorious salvager who’ll stop at nothing to get what he wants. As if that isn’t trouble enough, Catherine buys an old Claddagh ring and begins to have nightmares of a woman from another time. Who she is and why she’s haunting Catherine becomes as compelling as the hunt itself. While unraveling the mystery, Catherine questions her own struggle to find true love. Will it be her ex, a psychiatrist, who still loves her, or the handsome but unavailable marine archaeologist on the dive team? Or is she destined to be alone? Set in Provence, Manhattan, and Ireland, this time-slip novel exposes not only two women’s longings, but also the beauty of the deep, where buried treasures tempt salvagers to break the law.
Personal recollections recreate experiences of two Dust Bowl communities
" West Virginia boasts an unusually rich heritage of ghost tales. Originally West Virginians told these hundred stories not for idle amusement but to report supernatural experiences that defied ordinary human explanation. From jealous rivals and ghostly children to murdered kinsmen and omens of death, these tales reflect the inner lives—the hopes, beliefs, and fears—of a people. Like all folklore, these tales reveal much of the history of the region: its isolation and violence, the passions and bloodshed of the Civil War era, the hardships of miners and railroad laborers, and the lingering vitality of Old World traditions.
When Dr. Joanna Bereza, a passionate intern, challenges Dr. Myron Eisenstadt, her supervising psychiatrist, on his aggressive use of shock treatment, she risks not only her career but also her marriage. It doesn't help that she's working alongside a seductive intern, who looks more like a rock musician than an aspiring shrink.
The Sweet Cherry Ranch is an earthy, tough, and moving account of Frank King's continuing recovery from alcholism. The family addiction skipped one generation, then hit Frank, and his youngest brother Tony, with a sucker punch. Both have been sober for many years, Frank for more than 30. In his drinking years Frank King was a World War II Marine, a radioman-gunner in dive bombers; a radio operator, a civilian air traffic controller, a writer, a public relations manager, and Super Dad. A successful, funcitoning alcoholic, he was married three times. When his beloved second wife, June, died in childbirth, his drinking accelerated. He sobered up only when he couldnt stand looking at himself in the mirror. His story is about a wonderful childhood, finding booze, drinking, loss, hitting bottom, giving up, discovcery, finding faith, and sobriety.
A focus on theater as conflict. The most extreme human conflict is war. War itself is spoken of as being conducted in "theaters" and is now fully dramatized on television, the ultimate reality program and spectator sport for armchair combatants. Selected from papers presented at the April 2005 Southeastern Theatre Conference's annual symposium, these essays probe the relationships between theater, war, and propaganda by examining theatrical responses to World War II, Vietnam, and the aftermath of 9/11. In the collection's first section, Bruce A. McConachie deconstructs standard notions concerning Bertolt Brecht's position on spectator empathy, while Alan Woods explores a post-WWII European tour of Porgy and Bess as an example of American Cold War diplomacy. Anne Fletcher, kb saine, and Claudia Wilsch Case investigate the different means by which the theatre is uniquely equipped to define and perpetuate the national mythologies indispensable to a nation at war. Other essays tackle, in turn, Vietnam-era protest drama, and theatrical responses to 9/11 and the war in Iraq. Kate Bredeson documents the explosive reaction in Avignon during the summer of 1968 when authorities banned a production of Gérard Gelas's La Paillasse aux seins nus. Evan Bridestine, meanwhile, posits the notion of a dual wave of plays in the wake of 9/11: the first comprised of highly visceral responses, followed by a second wave of more cerebral dramas addressing the conflicts between individuals and their positions as members of a national or cultural group. Finally, Diana Calderazzo explores the critical reactions to Stephen Sondheim's Assassins, both in the U.S. and abroad, as informed by events as varied as the first Gulf War, 9/11, and the assassination of Israeli Prime Minister Yitzhak Rabin.