In Millie Tullis’s new poetry collection, These Saints are Stones, a faithless daughter is haunted by her third-great-grandmother, Martha, a woman who married her stepfather at sixteen and became a sister-wife to her own mother. Tullis cannot stop uncovering details about Martha, who left no written history behind, and her silence permeates this collection, which is rife with gaps and fragments, scraps of memory that blend with dreams. Sparse and spare, these poems echo the red desert landscape where the speaker’s ancestors lived and died, where she hunts for graves among the rocks and confronts a past she can never fully know. After all, like a sampling of lace, the cloth of women’s history is more hole than thread.

Marion Duff Hanks (1921–2011) was one of the most beloved and influential leaders of the Church of Jesus Christ of Latter-day Saints in the twentieth century, serving as a General Authority (senior leader) for forty years. He was also a leader of national import. As a recognized expert on youth, five US presidents appointed him to their President’s Council on Physical Fitness and Sports. Hanks also served as an executive leader of Rotary International and the Boy Scouts of America.

Author Richard Hanks draws on previously unavailable primary sources—journals, correspondence, notebooks, and recordings—to share this first and only authorized biography of his father. Hanks traces his father’s influence as he advocated for numerous changes in the institutional church, including humanitarian efforts, refugee relief services, missionary community service, a focus on mercy for the sinner, and a churchwide emphasis on “coming unto Christ.” A Renaissance man, Duff Hanks felt comfortable mingling with presidents and world leaders and speaking from pulpits and podiums to huge audiences and on television. But he found his greatest joy in assisting the individual, encouraging each in their personal search for happiness. Once, when asked about his goals, he replied, “My strongest desire is to qualify to be a friend of Christ.”

Tracy Y. Cannon guided the musical voice of Mormonism from its provincial roots at the turn of the twentieth century into a state of maturity by the end of his career in 1960. Cannon served as Salt Lake Tabernacle organist from 1905 until 1930, accompanying some of the first radio broadcasts of Music and the Spoken Word. Under his leadership, the McCune School of Music and Art became a cultural hub, offering accredited music degrees as well as community enrichment activities, influencing Utah’s next generation of music educators, composers, leaders, and policymakers. But perhaps his most lasting legacy was his work with the General Music Committee of the Church of Jesus Christ of Latter-day Saints, through which he oversaw the creation of two hymnals, many anthem books, organ anthologies, method books, and an expansive organist and chorister education program.

Cannon’s musical tastes—dignified, refined, reverent, and heavily influenced by Northern European tradition—became the norm for Latter-day Saint congregations for generations. Through his multifaceted career, this brief biography explores the evolution of Latter-day Saint hymnody, “art music,” cultural taste, and music education during the first half of the twentieth century.