Three powerful men converge on the banks of the Red Cedar River in the early 1900s in southern Minnesota—George Albert Hormel, founder of what will become the $10 billion food conglomerate Hormel Foods; Alpha LaRue Eberhart, the author’s paternal grandfather and Hormel’s Executive Vice President and Corporate Secretary; and Ransome Josiah Thomson, Hormel’s comptroller. Over ten years, Thomson will embezzle $1.2 million from the company’s coffers, nearly bringing the company to its knees. The Butcher, The Embezzler, and The Fall Guy opens in 1922 as George Hormel calls Eberhart into his office and demands his resignation. Hailed as the true leader of the company he’d helped Hormel build—is Eberhart complicit in the embezzlement? Far worse than losing his job and the great wealth he’d rightfully accumulated is that his beloved young wife, Lena, is dying while their three children grieve alongside. Of course, his story doesn’t end there. In scale both intimate and grand, Cherington deftly weaves the histories of Hormel, Eberhart, and Thomson within the sweeping landscape of our country’s early industries, along with keen observations about business leaders gleaned from her thirty-five-year career advising top company executives. The Butcher, The Embezzler, and The Fall Guy equally chronicles Cherington’s journey from blind faith in family lore to a nuanced consideration of the three men’s great strengths and flaws—and a multilayered, thoughtful exploration of the ways we all must contend with the mythology of powerful men, our reverence for heroes, and the legacy of a complicated past.

Cynical young gossip columnist Jane Benjamin joins FDR’s Office of War Information, a propaganda unit, to find a Wendy-the-Welder poster girl to urge more women to the shipyard work essential to America’s winning World War II—and, incidentally, to make herself into the new Hedda Hopper. But somebody doesn’t want those women at work. During a five-day contest to beat the world speed record for building a liberty ship, Jane investigates the lives of the first women welders and learns more about her flyboy former lover’s secret post–Pearl Harbor mission—and her cynicism begins to melt. But when inspectors find and publicize a series of flaws in the contest-week welding, the women welders are blamed. Worse, two poster girl candidates are killed. Are they being sabotaged by a belligerent male shipyard supervisor? The industrialist shipyard owner with a history of controlling women? Or someone else trying to diminish the success of the US liberty ship program? To find out, Jane must choose between her professional ambition and service to the women welders—before the murderer harms another girl and America’s best chance of winning the war.

At age forty, with two growing children and a new consulting company she’d recently founded, Gretchen Cherington, daughter of Pulitzer Prize–winning poet Richard Eberhart, faced a dilemma: Should she protect her parents’ well-crafted family myths while continuing to silence her own voice? Or was it time to challenge those myths and speak her truth—even the unbearable truth that her generous and kind father had sexually violated her? In this powerful memoir, aided by her father’s extensive archives at Dartmouth College and interviews with some of her father’s best friends, Cherington candidly and courageously retraces her past to make sense of her father and herself. From the women’s movement of the ’60s and the back-to-the-land movement of the ’70s to Cherington’s consulting work through three decades with powerful executives to her eventual decision to speak publicly in the formative months of #MeToo, Poetic License is one woman’s story of speaking truth in a world where, too often, men still call the shots.

There are more outlets than ever for writers to spread their messages and share their work, more opportunities to speak out and be seen. Writers expose themselves freely and willingly in a way that would have been unfathomable fifty years ago, and more people than ever are writing and publishing. Men and women are writing with equal fervor and commitment to their message and craft. As a result, it’s easy to assume, or hope, that the gendered playing field is a thing of the past, too. Unfortunately for women writers, it’s not. Knowing what we’re up against and how to fight back is the heart and soul of Write On, Sisters! Inside these pages, Brooke Warner draws upon research, anecdotes, and her personal experiences from twenty years in the book publishing industry to show how women’s writing is discounted or less valued than men’s writing, then provides support to overcome these challenges. This book also shines light on how women writers face not only ever-present historical and social challenges but also their own self-limiting beliefs. Write On, Sisters! is for every woman writer ready to be done with all that, and who’s ready for the next revolution.

This book will tell all you need to know about British English spelling. It's a reference work intended for anyone interested in the English language, especially those who teach it, whatever the age or mother tongue of their students. It will be particularly useful to those wishing to produce well-designed materials for teaching initial literacy via phonics, for teaching English as a foreign or second language, and for teacher training. English spelling is notoriously complicated and difficult to learn; it is correctly described as much less regular and predictable than any other alphabetic orthography. However, there is more regularity in the English spelling system than is generally appreciated. This book provides, for the first time, a thorough account of the whole complex system. It does so by describing how phonemes relate to graphemes and vice versa. It enables searches for particular words, so that one can easily find, not the meanings or pronunciations of words, but the other words with which those with unusual phoneme-grapheme/grapheme-phoneme correspondences keep company. Other unique features of this book include teacher-friendly lists of correspondences and various regularities not described by previous authorities, for example the strong tendency for the letter-name vowel phonemes (the names of the letters ) to be spelt with those single letters in non-final syllables.

Born of illustrious New England stock, Rachel Field was a National Book Award–winning novelist, a Newbery Medal–winning children’s writer, a poet, playwright, and rising Hollywood success in the early twentieth century. Her light was abruptly extinguished at the age of forty-seven, when she died at the pinnacle of her personal happiness and professional acclaim. Fifty years later, Robin Clifford Wood stepped onto the sagging floorboards of Rachel’s long-neglected home on the rugged shores of an island in Maine and began dredging up Rachel’s history. She was determined to answer the questions that filled the house’s every crevice: Who was this vibrant, talented artist whose very name entrances those who still remember her work? Why is that work—so richly remunerated and widely celebrated in her lifetime—so largely forgotten today? The journey into Rachel’s world took Wood further than she ever dreamed possible, unveiling a life fraught with challenge, and buried by tragedy, and yet incandescent with joy. The Field House is a book about beauty—beauty in Maine island landscapes, in friendship, love, and heartbreak; beauty hidden beneath a woman’s woefully unbeautiful exterior; beauty in a rare, delightful spirit that still whispers from the past. Just listen.

"Private investigator Charlie Parker descends upon a strange, isolated community called the Cut, and will face down a force of men who rule by terror, intimidation, and murder."--Provided by publisher.