In 1829, Sam Houston was the thirty-six-year-old governor of Tennessee, a “beautiful…imperious giant genius of a man,” whose political horizons seemed limitless. The marriage of this charismatic, ambitious statesman to twenty-year-old Eliza Allen, the daughter of a prominent landholder, seemed to form the perfect social foundation on which Houston would build his glittering career. But just eleven weeks after the wedding, Eliza suddenly and inexplicably left her new husband, creating a scandal that caused the governor to resign his office in disgrace and embark on an exile that would ultimately deliver him to Texas, and a destiny even grander and more improbable than anyone could have imagined. Through decades of rumor and speculation, Sam Houston and Eliza Allen never revealed the source of their unhappiness, and carried the secret with them to their graves. The Raven’s Bride is a brilliantly original novel that unravels this dark romantic mystery while illuminating a vivid and fascinating moment in America’s past. In these pages, Sam Houston is presented as he must have been—a heroic figure (called the Raven by the Cherokee), vain, flamboyant, magnetic, his outsized personality fueled by a desperate need for love. And Eliza Allen is his match: a prideful, magnificent young woman, both drawn to and disturbed by her husband’s grand aspirations. With the investigative acuity of a historian and the profound empathy of a gifted novelist, Elizabeth Crook has created an enthralling portrait of these star-crossed lovers and the vibrant, restless world that brought them together. Richly detailed and splendidly imagined, The Raven’s Bride turns a baffling historical conundrum into a complex and deeply affecting love story.

This installment of Scott's Waverly novels takes place in the early 1700s and tells of a doomed romance between a maiden and her family's sworn enemy. Basis for Donizetti's Lucia di Lammermoor.

A master storyteller of the Xhosa people of South Africa, Nongenile Masithathu Zenani gives us an unprecedented view of an oral society from within. Twenty-four of her complex and beautiful tales about birth, puberty, marriage, and work, as told to the renowned collector of African oral tradition, Harold Scheub, are gathered here. Accompanying the stories are Zenani’s detailed commentaries and analyses and Scheub’s striking photographs of her in performance. The combination of these historical and cultural observations with a richly symbolic collection of tales from a single traditional storyteller make The World and the Word a remarkable document. “The storyteller’s materials are simple,” Zenani told Scheub, “the world, and the word.” She presents to us the entire world of the Xhosa people, how they first came to be, the origins of their customs, how they order their world and deal with transgressors, how they manage all of life’s transitions from birth to death. She depicts both the world as it exists and as it is shaped in the words of the storyteller. Inheriting tales from the Xhosa tradition, Zenani has transformed them into imaginative new stories marked by her own artistry. Scheub’s introduction to The World and the Word discusses Xhosa oral tradition and Zenani’s particular characteristics as an artist within that tradition; Zenani’s personal history and her work as both a storyteller and a healer; and Scheub’s friendship with her and his role in recording her legacy.