"During one of the most tumultuous times for the North American continent (pre and post Civil War) three generations of women of both Native American and African American heritage, struggle to be free."--Book jacket flap.

During the Standing Rock Sioux protest against the Dakota Access Pipeline, an activist observed, “Forced removal isn’t just in the history books.” Sabine N. Meyer concurs, noting the prominence of Indian Removal, the nineteenth-century policy of expelling Native peoples from their land, in Native American aesthetic and political praxis across the centuries. Removal has functioned both as a specific set of historical events and a synecdoche for settler colonial dispossession of Indigenous communities across hemispheres and generations. It has generated a plethora of Native American writings that negotiate forms of belonging—the identities of Native collectives, their proprietary relationships, and their most intimate relations among one another. By analyzing these writings in light of domestic settler colonial, international, and tribal law, Meyer reveals their coherence as a distinct genre of Native literature that has played a significant role in negotiating Indigenous identity. Critically engaging with Native Removal writings across the centuries, Meyer’s work shows how these texts need to be viewed as articulations of Native identity that respond to immediate political concerns and that take up the question of how Native peoples can define and assert their own social, cultural, and legal-political forms of living, being, and belonging within the settler colonial order. Placing novels in conversation with nonfiction writings, Native Removal Writing ranges from texts produced in response to the legal and political struggle over Cherokee Removal in the late 1820s and 1830s, to works written by African-Native writers dealing with the freedmen disenrollment crisis, to contemporary speculative fiction that links the appropriation of Native intangible property (culture) with the earlier dispossession of their real property (land). In close, contextualized readings of John Rollin Ridge, John Milton Oskison, Robert J. Conley, Diane Glancy, Sharon Ewell Foster, Zelda Lockhart, and Gerald Vizenor, as well as politicians and scholars such as John Ross, Elias Boudinot, and Rachel Caroline Eaton, Meyer identifies the links these writers create between historical past, narrated present, and political future. Native Removal Writing thus testifies to both the ongoing power of Native Removal writing and its significance as a critical practice of resistance.

As Wyoming Territory succumbed to the bleakness of a Western winter Wes Harper, ex-jailbird, disgraced deputy marshal and sometime presidential bodyguard rode into Blackwater Creek. Folks called him the Shadow Rider and he had returned home with a free pardon in his saddlebag, a silver Colt .45 on his hip and vengeance in his heart. His father’s ranch, The Diamond H, was a charred ruin with Southerner Tim Belowen's gunslingers on hand to deter any newcomers to the Powder River range. But Belowen hadn't reckoned on Harper's extraordinary skills and courage as he fought for what was rightfully his...and for the woman he thought he had lost.

You can’t always pick who you fall for… Her orchard. His heart.Can they successfully heal both? When her family’s apple orchard is damaged by a storm, single mom Libby Creighton knows the harvest she’s depending on is in jeopardy. Though he prefers a solitary life, Jax McClaren has the skills to revive Libby’s orchard—and her guarded heart. But he’ll have to overcome the secrets of his past if he and Libby are going to have a fruitful future together. Golden Grove

Mark Childress is is an artist, with an ear comparable to Eudora Welty's, which to me is the highest praise one can give. I haven't read a Southern novel since Losing Battles that has given me such pleasure. -- Harper Lee, author of To Kill a Mockingbird The sense of reality with which Childress imbues his characters and their situation is remarkable. He has the true novelist's ability to commit himself entirely to the people and events he envisions, and this is rare; the reader is certain at all points that the author is not playing with the subject, but writing from deep within it. A truly outstanding book is the result. -- James Dickey A World Made of Fire is earthy, adroit, moving -- an excellent novel by a writer of great promise and talent. -- Jesse Hill Ford Mark Childress is a young novelist who has written a memorable story out of the land and people of the Deep South that throughout its length is constantly intruguing with unexpected innovations. The ever-present undercurrent of mystical events will probably startle many readers by arousing and bringing forth unfamiliar emotions. -- Erskine Caldwell A wonderful and powerful novel...Childress's debut in the world of fiction is a cause to be celebrated; he is the real thing. -- Pat Conroy Mark Childress's new-fashioned saga is full of delicate electricity and raw power. -- Barry Hannah This is a damned fine story. There is more here than story, though. This baby resonates. Mark Childress is a writer of almost uncanny stylistic ability and clear vision. His eye for detail is extraordinary. It makes you want to holler Oh yeah! like a guy who's gotten religion at a riverside camp meeting. It's close; it's luxurious in its rightness; it fulfills the central demand of art...to make us see more in what we always thought we were seeing. -- Stephen King A haunting first novel...There is a clear light of genuine story-telling talent shining through it all. -- Library Journal In an impressive debut, Childress has produced a spellbinding tale in the Southern gothic tradition. A writer of poetic acuity, he evokes the atmospher of a small Southern town and brings its inhabitants to life through their colorful, softly cadenced speech. Childress's remarkable command of language -- he uses imagery with sensuous skill -- his sure sense of plot, fueled by mysticism and mystery, and most of all, his beautifully nuanced depiction of Stella's coming of age, will keep readers enthralled. -- Publishers Weekly That rarest of finds, an unsentimental coming-of-age story, A World Made of Fire is also an engrossing mystery. Wrapped in its tale of voodoo and midnight rides is a detailed bestiary of human emotions and behaviors. San Francisco Chronicle Mark Childress's first novel is a complex allegory of pagan magic and Christian retribution... Mr. Childress writes his haunting novel with poetic cadences in brief, intense chapters. He is an author of imagination. Stella's coming of age in grief and loneliness is drawn wtih graceful authenticity. -- Valerie Miner, The New York Times Book Review A startlingly original first novel. Not only do a great many marvelous things happen, they do so in a time and place so untapped that Childress is able to claim the territory as his alone. He has marked himself, at the tender age of twenty-six, as a major new fictional voice. -- Bruce van Wyngarden, Saturday Review

Hardy Johns, beloved small town veterinarian turned vigilante, follows an animal killer with the intention of ending his days, when the killer drops dead, leaving a black plastic bag containing a dead child instead of the expected town pet , and it throws Hardy for a loop. Already under suspicion for his activities and not wanting to become involved, Hardy calls his friend and sometime conspirator, Detective Mitch Downey,to the scene, and Mitch finds only the dead man and an empty bag,and Hardy believes he might be losing his mind. Estelle, Hardy's wife, is befriended by a star-faced doe, who persists on leading her through the woods to Estelle's old house , which she has rented to Handyman Jack, the Ripper. Mystified by the creature's actions, Hardy and Estelle decide the doe is a messenger attempting to communicate---but what? Mitch is constantly harrassed by Marge Maguire, who replaced him as sheriff of Coombsville, and he makes a pact with Jack to do away with her in exchange for Mitch's silence. Jack has murdered several of the locals for no reason other than rage, and Mitch has figured this out.