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After Sam Peek’s beloved wife Cora dies, his children are worried about him. After fifty-seven years of marriage, they are unsure how their elderly father will survive on his own. They talk about him as if he can’t hear them, questioning how he’ll run a farm, drive his truck, or live by himself.
When Sam tells his children about a white dog who visits him, yet seems invisible to everyone else, they are sure that grief and old age have taken a toll on their father. But, real or not, the creature soothes Sam’s grief and ultimately reconciles him with his own mortality.
In this bittersweet story of love, grief, and coming to terms with death, “master storyteller” Terry Kay takes readers on Sam’s journey with his white dog, bringing solace and comfort to the inevitable transition that all must make (The Atlanta Journal-Constitution).
Untreed Reads will be bringing many of the title in Terry Kay's bibliography to ebook format in 2011 and 2012.
Set in the 1940s and using the relationships of two boys--one black and the other white--as a springboard for the beginning of desegregation in the South, The Runaway examines the joys, sorrows, conflicts, and racial disharmony of their historical biased environment.
On a sunny summer day in 1948, Noah Locke arrives in Bowerstown, a small North Carolina community bordered by lakes and set deep in the Valley of Light. A quiet, simple man and a war veteran, Noah has a mystical gift for fishing, yet he remains haunted by the war and by the terrible scenes he witnessed when his infantry unit liberated Dachau. His wandering -- doing odd jobs and catching fish for sale or trade -- is both an escape from his past and a search for a place to call home.
In the valley, Noah is initially treated with amusement by the locals he meets at Taylor Bowers's general store -- until he begins fishing. Once they see his almost magical skills, however, he becomes the talk of the valley and is urged to stay long enough to participate in the annual school fishing contest. He agrees, accepting a job offer by Taylor to paint his store when he isn't filling orders for fish. He finds lodging in an abandoned shack by a small lake the locals call the Lake of Grief and, also, the Lake of No Fish, because they think all the fish have disappeared. Noah knows they are wrong. Beneath the water is a warrior bass waiting to test Noah's gift.
In the way that innocence creates powerful events, Noah meets Eleanor Cunningham, a young widow whose husband supposedly killed himself after returning home from the war. Over the course of a week, Noah will be led into the secret lives of the residents of the Valley of Light, will join them as they mourn a tragedy, and will experience a miracle that will guide him home at last.
Luminous, memorable, and deeply moving, The Valley of Light is the finest work to date from a brilliant storyteller.
When Foster Lanier and Ben Phelps are released from a professional baseball team in 1904, it is the only experience they have in common, until they meet a runaway -- a girl-woman named Lottie Parker -- on the train that takes them from Augusta, Georgia, and away from their dreams of greatness.
Foster will marry her and father her son.
Ben will escort her home.
And Lottie will change the lives of everyone she meets, from the day she runs away until she finally finds the place where she belongs.
The bank rejects the demand.
And what begins as a curious crime – the abduction of an unknown, a nobody – soon ignites a national crusade for Aaron’s safe return, because everyone, in one way or another, understands what it is like to be a nobody.
For the kidnappers, the money has no meaning. The mastermind, Ewell Pender, is a wealthy eccentric, an elderly board member of the bank, yet also the man who organizes the campaign to raise Aaron’s ransom. His criminal associates are young nonconformists, dreamers and daredevils. Keeping Aaron in the luxury of the Pender mansion is, to them, a clever and teasing adventure. For Aaron, it is not life-threatening; it is life-changing.
Caught in the mystery is a journalist who unwittingly is used as a pawn by the kidnappers to tell Aaron’s story, and also a detective who bends rules and follows his instinct as much as his training. For both, the kidnapping reveals a profound understanding of their own lives in the complex workings of the world around them.
Richly written, driven by baffling twists in plot, and featuring powerful portrayals of memorable characters, The Kidnapping of Aaron Greene goes beyond the elements of a classic crime. It is an experiment in human manipulation and behavior, and a riveting study of the passions and apathy historically exhibited by society.
In everyone's life, Avrum claimed, there is one grand, undeniable moment that never stops mattering. For Bobo, it was his first glimpse of beautiful Amy Lourie. But, for a wealthy Jewish girl and a Georgia farm boy, the summer had to end, leaving Bobo with the pain of lost love. Nearly forty years later, his children grown and marriage comfortably routine, Bobo comes north once more; there, amidst the haunting hints of Amy's presence, she unexpectedly appears. Nothing has dimmed the passion of their youth, yet two lifetimes and a thousand Catskills sunsets stand between who they were and who they have become. The barriers between them are different now. But mysteriously, miraculously, Bobo reawakens the dream of a love larger than himself....
The “something else” is what a Southerner might call a catchall phrase, for it can apply to saint and sinner alike. It means exactly what it implies: the person referenced has made a name for him (her) self in some manner—Asa, the drunk, becoming a war hero; the reigning heavyweight lard watermelon champion and Indian terror, Newell Proudfoot, in a grudge match against the Prichard twins; Felton Eugene Weaver’s rise from whiskey runner to Hollywood movie fame; Elmo Parker and Monroe Dawson in a showdown baseball game between the Claybank Textile Tigers and the Jefferson Bluejays; and, last, the stunning Mattie Mae Blair’s career as the striptease artist, Princess Salome.
Written in the edged-in-humor style of caricature, these stories are shared daily in cafes and other gathering spots in rural communities in the South. It is a practice embedded in the culture, and all it takes for a casual mention to become a tall tale is one storyteller trying to outdo another. If you find yourself in the company of such men and women, pause nearby and eavesdrop. When the snickering turns into a cackle, you will know that someone has been elevated to being “something else.”
memories of his grandfather’s exaggerated stories of Irish wonder and magic— stories of leprechauns and legends and the mysterious power of fate. But he does not have the story of why his grandfather left Ireland as a young man.
Mesmerized by his romantic vision of Ireland, Cooper begins his search with the unknowing help of friends in America who have employed a charming, down on- his-luck Irish actor named Sandy McAfee to con his way into Cooper’s life as his guide. Yet neither is prepared for the presence of Kathleen O’Reilly, a public relations specialist whose tour on behalf of the NewTree campaign is eerily parallel to the travels that Sandy plots in leading Cooper on his hunt for his grandfather’s ghost. And in those landmarks—Waterford, Youghal, Cork, Killarney, the Ring of Kerry, Tralee, Kenmare, Dingle—the fate of the Irish that Finn Coghlan talked of magically brings Cooper and Kathleen together.
Yet, there is a truth between the two of them that not even the enchanting tale of Finn McCool and Sally Cavanaugh, or of Patrick the Believer, can resolve. For that, Cooper must use the one gift bestowed on him as a child by his grandfather —Bogmeadow’s wish.