front cover of Fine Dreams
Fine Dreams
Linda N. Masi
University of Massachusetts Press, 2024

Set in a fictional town, at a fictional school, Linda N. Masi’s debut novel, Fine Dreams, rewrites myth and history. Framed by a ghost’s first-person narrative, the book centers on four young friends, the stars of their school’s track team. While studying for exams, they are kidnapped and taken to a terrorist encampment. Two are claimed as “wives” by their captors, one is forced to wear a suicide vest, and each is subjected to appalling violence and terror. While their stories resonate with a widely publicized 2014 abduction, these four young women could have been taken in any of the many incidents that have plagued the Nigerian people for years.

Even though they are abducted and abused by men in power and forced to survive in a dark place like Persephone, Masi’s protagonists offer new endings for Persephone’s story. In Masi’s telling, these resilient young women recover their dreams and hopes to live in daylight once again. No matter where they travel or where they stay, they gain self-determination and reclaim their dreams.

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front cover of Patty's Got a Gun
Patty's Got a Gun
Patricia Hearst in 1970s America
William Graebner
University of Chicago Press, 2008
It was a story so bizarre it defied belief: in April 1974, twenty-year-old newspaper heiress Patricia Hearst robbed a San Francisco bank in the company of members of the Symbionese Liberation Army—who had kidnapped her a mere nine weeks earlier. But the robbery—and the spectacular 1976 trial that ended with Hearst’s criminal conviction—seemed oddly appropriate to the troubled mood of the nation, an instant exemplar of a turbulent era.
 
With Patty’s Got a Gun, the first substantial reconsideration of Patty Hearst’s story in more than twenty-five years, William Graebner vividly re-creates the atmosphere of uncertainty and frustration of mid-1970s America. Drawing on copious media accounts of the robbery and trial—as well as cultural artifacts from glam rock to Invasion of the Body Snatchers—Graebner paints a compelling portrait of a nation confused and frightened by the upheavals of 1960s liberalism and beginning to tip over into what would become Reagan-era conservatism, with its invocations of individual responsibility and the heroic. Trapped in the middle of that shift, the affectless, zombielike, “brainwashed” Patty Hearst was a ready-made symbol of all that seemed to have gone wrong with the sixties—the inevitable result, some said, of rampant permissiveness, feckless elitism, the loss of moral clarity, and feminism run amok.
 
By offering a fresh look at Patty Hearst and her trial—for the first time free from the agendas of the day, yet set fully in their cultural context—Patty’s Got a Gun delivers a nuanced portrait of both an unforgettable moment and an entire era, one whose repercussions continue to be felt today.
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front cover of Sally in Three Worlds
Sally in Three Worlds
An Indian Captive in the House of Brigham Young
Virginia Kerns
University of Utah Press, 2021

In this remarkable and deeply felt book, Virginia Kerns uncovers the singular and forgotten life of a young Indian woman who was captured in 1847 in what was then Mexican territory. Sold to a settler, a son-in-law of Brigham Young, the woman spent the next thirty years as a servant to Young’s family. Sally, as they called her, lived in the shadows, largely unseen. She was later remembered as a “wild” woman made “tame” who happily shed her past to enter a new and better life in civilization. 

Drawing from a broad range of primary sources, Kerns retrieves Sally from obscurity and reconstructs her complex life before, during, and after captivity. This true story from the American past resonates deeply in the current moment, attentive as it is to killing epidemics and racial injustices. In telling Sally’s story, Kerns presents a new narrative of the American West. 

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