A journey to the center of their hearts. Ever since their father's sudden death eight years ago, Chuck and Lori's mom has spent most of her time on the road as a motivational speaker, leaving them and their younger siblings in the care of their grandparents. But this trip is different; this time, their mother has invited Chuck and Lori along in an attempt to reconnect with her eldest--and now most distant--children. Lori is so angry with her mother for her constant absence she can barely look at her, and Chuck, as usual, tries to make himself invisible. From the start the trip seems doomed. But slowly, walls built up over the years begin to show cracks. Laser-sharp glares are finally and painfully turned inward. And in the end secrets are finally revealed--secrets that will change all of their lives forever..

Ben thinks he will always be stuck at Cook's Landing, barely making ends meet like his uncle. But when he meets a wealthy widow from New York City, he sees himself there too. When she hires him to play his violin, he realizes his gift could unokc the possibilities of the world. Then, during a stormy night on Lake Muskoka, everything changes.

Exile, or auditions for utopia, in a time before this The Book of Landings brings together the second and third parts of Mark McMorris's visionary trilogy "Auditions for Utopia,"—initiated in Entrepôt—and marks two stages in the evolution of the poet's conception of space. The first stage of the collection is the entrepôt, a space where disparate vectors of identity congregate, come into conflict, and finally merge into hybrid forms. The poetry follows a trajectory of diaspora, or exile, instigated by conquest, colonialism, wars, and political defeat in the search for Utopia. In The Book of Landings the promised dwelling has been removed from the realm of physical geography, and there is only transition—fragmentary episodes of arrival and departure, in transit from one entrepôt to another. These episodes of transit do not only compose a linear sequence only. Instead, they define a space or surface marked by repeated traversals over time—tracings and, importantly, re-tracings, by explorers, conquerors, migrants, merchants, slaves, refugees, and exiles—a city of palimpsests. An online reader's companion will be available at markmcmorris.site.wesleyan.edu.

An “engaging . . . entertaining journey,” Landing explores the pleasures and sorrows of long-distance love in the digital age (The New York Times Book Review). Síle is a stylish citizen of the new Dublin, a veteran flight attendant who’s traveled the world. Jude is a twenty-five-year-old archivist, stubbornly attached to Ireland, Ontario, the tiny town in which she was born and raised. When Jude meets Síle on her first transatlantic plane trip, the spark between them is instant. After a coffee shared at Heathrow Airport, both women return to their lives—but neither can forget their encounter. Over the next year, Jude and Síle connect through emails, phone calls, letters, and the occasional visit. But no matter how passionate, every long-distance relationship comes to a crossroads, because you can’t have a happily ever after when the one you love is a world apart . . . “[Donoghue] explores with a light, sure touch the subject of desire across distances of various kinds: generational, cultural, even spiritual.” —The New York Times Book Review “[A] charming tale.” —Kirkus Reviews

Learn how and why the Pilgrims left England to come to America! In England in the early 1600s, everyone was forced to join the Church of England. Young William Bradford and his friends believed they had every right to belong to whichever church they wanted. In the name of religious freedom, they fled to Holland, then sailed to America to start a new life. But the winter was harsh, and before a year passed, half the settlers had died. Yet, through hard work and strong faith, a tough group of Pilgrims did survive. Their belief in freedom of religion became an American ideal that still lives on today. James Daugherty draws on the Pilgrims' own journals to give a fresh and moving account of their life and traditions, their quest for religious freedom, and the founding of one of our nation's most beloved holidays; Thanksgiving.

D-Day, the Allied invasion of northwestern France in June 1944, has remained in the forefront of American memories of the Second World War to this day. Depictions in books, news stories, documentaries, museums, monuments, memorial celebrations, speeches, games, and Hollywood spectaculars have overwhelmingly romanticized the assault as an event in which citizen-soldiers—the everyday heroes of democracy—engaged evil foes in a decisive clash fought for liberty, national redemption, and world salvation. In D-Day Remembered, Michael R. Dolski explores the evolution of American D-Day tales over the course of the past seven decades. He shows the ways in which that particular episode came to overshadow so many others in portraying the twentieth century’s most devastating cataclysm as “the Good War.” With depth and insight, he analyzes how depictions in various media, such as the popular histories of Stephen Ambrose and films like The Longest Day and Saving Private Ryan, have time and again reaffirmed cherished American notions of democracy, fair play, moral order, and the militant, yet non-militaristic, use of power for divinely sanctioned purposes. Only during the Vietnam era, when Americans had to confront an especially stark challenge to their pietistic sense of nationhood, did memories of D-Day momentarily fade. They soon reemerged, however, as the country sought to move beyond the lamentable conflict in Southeast Asia. Even as portrayals of D-Day have gone from sanitized early versions to more realistic acknowledgments of tactical mistakes and the horrific costs of the battle, the overarching story continues to be, for many, a powerful reminder of moral rectitude, military skill, and world mission. While the time to historicize this morality tale more fully and honestly has long since come, Dolski observes, the lingering positive connotations of D-Day indicate that the story is not yet finished.