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"The Waltz of Devil's Creek is a poignant and memorable tale that outshines the standard conventions of its genre." – The Booklife Prize -- Judith Campbell is dying, and she cannot take the painful truth about where her son came from to the grave with her. While on her deathbed in Atlanta, Georgia, in 1994, Judith tells him the tragic story of his conception and which of two men his birth father could be: the young man who professed his love to her or the pastor who assaulted her. Set in the Deep South in 1947, The Waltz of Devil's Creek digs into the dark crevices of racism and women's rights during a heated political climate in an era of segregation. Combined with Judith's lack of social stature, and at a time when reporting sexual assault was unheard of, every injustice is stacked against her from the very beginning. But there is a light in Judith's young life: her best friend, Joseph Bird, who has loved her since childhood. Joseph stands up for Judith when no one else will and proves that even in the darkest of times, a light is always burning.
While historians debate of the fate of Butch Cassidy and the Sundance Kid, the capital story of Etta Place is significant as any event that defines the Old West. Mistress to Sundance and matron to Butch, Etta was a notorious desperada, beautiful and well-read, an excellent horse-rider, and an expert markswoman. In 1901, on the lam from Pinkertons', the family of three fled to Argentina where Detective Frank Dimaio tracked them to their ranch near the small village of Cholila. In 1908, Dimaio reported: 'I know nothing of Etta Place, but believe she met the Sundance Kid in a house of ill-fame and became his common law wife. She returned to the United States while the Kid and Butch stayed in South America and were apparently killed in Bolivia by Soldaleros-although some believe they escaped.' Based on the oral history of Sadie Albin-aka Etta Place-Pinkerton Waltz is the irrefutable saga of the family of three settling in anonymity on their cattle ranch in the ghost town of Greenhorn, Colorado in 1910. In 1966, when Sadie's husband Eli (the Sundance Kid) passes away, she befriends Mary Iris, a cub newspaper reporter. Separated by generations, they develop an unfailing relationship and Sadie reveals her true identity. Pinkerton Waltz is a journalistic reconstruction of Sadie's lucid memories of the family of three. Sadie begins, "Dead outlaws make great legends. You bet. Better to get it from the horse's mouth than some horse's ass." Pinkerton Waltz peeks under the bedclothes at Fanny Porter's Sporting House in San Antonio, where, at fifteen, Etta's infamy began. On Sadie's 94th birthday, she recalls riding with the Wild Bunch-robbing banks and holding-up trains-and dancing with Pinkertons' along The Outlaw Trail. For half a century, Sadie lived an epic life to escape Etta's legendary past. Eli is mentored by Ernest Blumsenschein, co-founder of the Taos Artists Colony; Joseph (Butch Cassidy) promotes a barnyard-boxing match between The Manassa Mauler and a victorious mountain man; the family of three bottle moonshine in a still hidden beneath the bear cage at the Greenhorn Zoo. Pinkerton Waltz celebrates an ancient Chinaman named Boc Yow and laments the demise of the American cowboy. In the beginning, Etta dances a jitterbug to bring finality to a frenetic folklore. In the end, Sadie whispers the truth, soothing as a cradlesong. www.pinkertonwaltz.com
Their passion was beyond control. . . Hal Lindsay is a decorated Union Navy hero and a riverboat captain who has built an empire around his Missouri River steamboats. Yet deep inside him lurks the pain of a dark, vicious past--one that has him determined to live alone, finding carnal comfort in the arms of women who will do anything as long as the price is right--like the sensual innocent currently masquerading as an experienced gambler aboard his boat. For once, Hal finds himself wanting more--much more. . .and that is a very dangerous thing. . . Rosalind Schuyler is appalled to be unmasked by Hal--and frightened as well. The prominent New York railroad heiress is on the run to escape marriage to a man who would kill to gain her fortune. Now it seems she's in danger of a different kind. For Hal Lindsay is like no man she's met before. One minute, he's kind as a brother, hiding her from those searching night and day for her. The next, he's a pure masculine animal, taking her to his bed and beyond what she thought were the limits of her desire. Everything he does, she wants more of, but what she wants most, she knows he can never give. . . Praise For The Novels Of Diane Whiteside "Very hot. . .Once you start you won't want to stop reading." --Romantic Times "So steamy that it fogs one's reading glasses. . ." --Booklist on The Irish Devil
For as long as I can remember, treasure hunters have been captivated by accounts of the Dutchman Jacob Waltz's life and the whereabouts of his hidden gold mine. Can any tale be more compelling than that long unsolved mystery of millions of dollars of gold lost deep in the Superstition Mountains? Yes - the REAL story, that will keep you on the edge of your seat! In Dutchman and the Devil: The Lost Story I examine the tangled trail of truth and fiction that is Waltz's legacy and tell the tale of a man - and his shadowy undiscovered partner - who cheat, connive, manipulate, and murder their way through the wicked old west, leaving a trail of blood, bodies and broken promises that over the years have been lost in the wake of the commonly accepted family friendly legend. Friends who got a whiff of this story couldn't wait for the next chapter of the spectacular spaghetti western that sprang from my typewriter. Be among the first to read my story of the Dutchman and the Devil - but cross your heart and promise not to reveal its startling secret.
In this historical crime thriller from a “master of the genre”, a dead body reopens a 20 year old murder case, triggering a detective’s PTSD. On a perfect summer evening in 1954, sixteen-year-old Nancy Denton walked into the woods of her hometown of Whytesburg, Mississippi. She was never seen again. Two decades later, Sheriff John Gaines witnesses a harrowing discovery: A young woman has been unearthed from the riverbank, her body perfectly preserved, yet she bears evidence of a brutal ritualistic killing. Nancy has come home at last, but her return does not bring closure to her family, or to the citizens of Whytesburg. What really happened to the beautiful and vivacious Nancy? And why do her friends refuse to talk? As Gaines closes in on the truth, he is forced to not only confront his own demons, but to unearth secrets that have long remained hidden. And that truth, so much darker than he could ever have imagined, may be the one thing that finally destroys him. “Near-poetic . . . the kind [of thriller] that will give the reader chills as he realizes he’s reading an exploration into the mystery that is the human mind, pointing out that real-life devils live among us.” —New York Journal of Books “Voodoo and murders and gothically imposing southern dynasties?what’s not to like? Genuine chills, fearsomely speedy page-turning, and real humor [make for] an enjoyable read.” —Observer “A southern-gothic thriller in the tradition of William Faulkner. Readers will find themselves immersed in a decaying and disturbing atmosphere . . . a powerful read for fans of James Ellroy and Andrew Vachss.” —Booklist
Music and dance in Canada today are diverse and expansive, reflecting histories of travel, exchange, and interpretation and challenging conceptions of expressive culture that are bounded and static. Reflecting current trends in ethnomusicology, Contemporary Musical Expressions in Canada examines cultural continuity, disjuncture, intersection, and interplay in music and dance across the country. Essays reconsider conceptual frameworks through which cultural forms are viewed, critique policies meant to encourage crosscultural sharing, and address ways in which traditional forms of expression have changed to reflect new contexts and audiences. From North Indian kathak dance, Chinese lion dance, early Toronto hip hop, and contemporary cantor practices within the Byzantine Ukrainian Church in Canada to folk music performances in twentieth-century Quebec, Gaelic milling songs in Cape Breton, and Mennonite songs in rural Manitoba, this collection offers detailed portraits of contemporary music practices and how they engage with diverse cultural expressions and identities. At a historical moment when identity politics, multiculturalism, diversity, immigration, and border crossings are debated around the world, Contemporary Musical Expressions in Canada demonstrates the many ways that music and dance practices in Canada engage with these broader global processes. Contributors include Rebecca Draisey-Collishaw (Queen's University), Meghan Forsyth (Memorial University of Newfoundland), Monique Giroux (University of Lethbridge), Ian Hayes (Memorial University of Newfoundland), Anna Hoefnagels (Carleton University), Judith Klassen (Canadian Museum of History), Chris McDonald (Cape Breton University), Colin McGuire (University College Cork), Marcia Ostashewski (Cape Breton University), Laura Risk (McGill University), Neil Scobie (University Western Ontario), Gordon Smith (Queen's University), Heather Sparling (Cape Breton University), Jesse Stewart (Carleton University), Janice Esther Tulk (Cape Breton University), Margaret Walker (Queen's University), and Louise Wrazen (York University).