Her parents never really explained what a D.P. was. Years later Daiva Markelis learned that “displaced person” was the designation bestowed upon European refugees like her mom and dad who fled communist Lithuania after the war. Growing up in the Chicago suburb of Cicero, though, Markelis had only heard the name T.P., since her folks pronounced the D as a T: “In first grade we had learned about the Plains Indians, who had lived in tent-like dwellings made of wood and buffalo skin called teepees. In my childish confusion, I thought that perhaps my parents weren’t Lithuanian at all, but Cherokee. I went around telling people that I was the child of teepees.” So begins this touching and affectionate memoir about growing up as a daughter of Lithuanian immigrants. Markelis was raised during the 1960s and 1970s in a household where Lithuanian was the first language. White Field, Black Sheep derives much of its charm from this collision of old world and new: a tough but cultured generation that can’t quite understand the ways of America and a younger one weaned on Barbie dolls and The Brady Bunch, Hostess cupcakes and comic books, The Monkees and Captain Kangaroo. Throughout, Markelis recalls the amusing contortions of language and identity that animated her childhood. She also humorously recollects the touchstones of her youth, from her First Communion to her first game of Twister. Ultimately, she revisits the troubles that surfaced in the wake of her assimilation into American culture: the constricting expectations of her family and community, her problems with alcoholism and depression, and her sometimes contentious but always loving relationship with her mother. Deftly recreating the emotional world of adolescence, but overlaying it with the hard-won understanding of adulthood, White Field, Black Sheep is a poignant and moving memoir—a lively tale of this Lithuanian-American life.

“A stunning portrait of incredibly courageous men and their awesome flying machines.”—Alex Kershaw, author of The Few Marine Fighting Squadron (VMF) 214 is the world’s most famous fighter squadron. Its second wartime squadron commander was the legendary Greg “Pappy” Boyington. Boyington and the squadron were the loose inspiration for the late-seventies NBC television series Baa Baa Black Sheep, which was later syndicated under the name Black Sheep Squadron. Swashbucklers and Black Sheep is a comprehensive illustrated history of the squadron from its formation and first two combat tours on Guadalcanal as the Swashbucklers, which included their transition to the iconic gull-winged Corsair, to the arrival of their second commander, Pappy Boyington, after which they became the Black Sheep. The squadron’s combat over Bougainville and Rabaul and the story of Boyington being shot down are covered, as are the squadron’s exploits in the latter part of the war (while Boyington was a POW), which culminated in the heavy losses suffered aboard the carrier USS Franklin. The squadron’s service in Korea, Vietnam, and the Global War on Terror complete the storied history of VMF 214. In addition to a rich collection of historical photography, Swashbucklers and Black Sheep features combat aviation artwork from four of America’s top aviation artists: John Shaw, Jim Laurier, Craig Kodera, and Bob Rasmussen.

With their renowned squadron leader Greg “Pappy” Boyington, Marine Fighting Squadron (VMF) 214 was one of the best-known and most colorful combat units of World War II. The popular television series Baa Baa Black Sheep added to their legend—while obscuring the truly remarkable combat record of the Black Sheep and Boyington. A retired naval flight officer and former historian for the Naval Aviation Museum Foundation, Bruce Gamble provides a highly readable account that serves to both correct and extend the record of this premier fighting force.

A story about many different sheep, and one that seems to be missing.