A Dark Night in the Fieldhouse By: J Lewis Johnson A Dark Night in the Fieldhouse is historical fiction depicting the Indiana high school basketball championships of 1955. It chronicles the season beginning with the end of the 1954 state championship game which itself was depicted in the movie Hoosiers. The story begins when that game ends and could be seen as a sequel to Hoosiers. A Dark Night in the Fieldhouse encompasses the history of Indiana high school boys’ basketball, the politics of the sport, and the segregation in Indiana and America at that time. A Dark Night in the Fieldhouse occurs after Brown vs Board of Education passed through the Supreme Court outlawing segregation in education in America. While the story’s characters are purely fictional, some of the real players involved in the historic season went on to become prominent figures in the evolution of basketball both at the college and professional level. These players were vital to the development of basketball which has made the NBA so popular today and propelled basketball to the status of one of the most popular sports in the world.

Life sucks when your friends are pissed at you. Just ask Zoey Redbird – she's become an expert on suckiness. In one week she has gone from having three boyfriends to having none, and from having a close group of friends who trusted and supported her, to being an outcast. Speaking of friends, the only two Zoey has left are undead and unMarked. And Neferet has declared war on humans, which Zoey knows in her heart is wrong. But will anyone listen to her? Zoey's adventures at vampyre finishing school take a wild and dangerous turn as loyalties are tested, shocking true intentions come to light, and an ancient evil is awakened in PC and Kristin Cast's spellbinding fourth House of Night novel. (Recommended for readers age 13 and older)

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.

Achille Mbembe is one of the world’s most profound critics of colonialism and its consequences, a major figure in the emergence of a new wave of French critical theory. His writings examine the complexities of decolonization for African subjectivities and the possibilities emerging in its wake. In Out of the Dark Night, he offers a rich analysis of the paradoxes of the postcolonial moment that points toward new liberatory models of community, humanity, and planetarity. In a nuanced consideration of the African experience, Mbembe makes sweeping interventions into debates about citizenship, identity, democracy, and modernity. He eruditely ranges across European and African thought to provide a powerful assessment of common ways of writing and thinking about the world. Mbembe criticizes the blinders of European intellectuals, analyzing France’s failure to heed postcolonial critiques of ongoing exclusions masked by pretenses of universalism. He develops a new reading of African modernity that further develops the notion of Afropolitanism, a novel way of being in the world that has arisen in decolonized Africa in the midst of both destruction and the birth of new societies. Out of the Dark Night reconstructs critical theory’s historical and philosophical framework for understanding colonial and postcolonial events and expands our sense of the futures made possible by decolonization.

“A grand and thrilling selection of Hoosier writing presented through the fraught lens of Christmas . . . a fascinating and utterly enjoyable read.” —Michael Dahlie, award-winning author of The Best of Youth In An Indiana Christmas, editor Bryan Furuness brings together timeless short stories, poems, plays, and letters to help you get into the holiday spirit. Lose yourself in classics like “In God We Trust: All Others Pay Cash” by Jean Shepherd, which inspired the beloved movie A Christmas Story, and “A Feel in the Christmas Air”by James Whitcomb Riley, along with more recent literary works like “The Myth of the Perfect Christmas Photo Family” by Kelsey Timmerman and “While Mortals Sleep” by famed Indiana writer Kurt Vonnegut. To achieve the perfect combination of Christmas nostalgia and cheer, Furuness has curated Hoosier stories that allow you to experience an idyllic holiday gathering in “Indiana Winter” by Susan Neville, feel the excitement of a child on Christmas Eve with “Earthbound” by Barbara Shoup, and face the loneliness of a drifter on Christmas night in “Howard Garfield, Balladeer” by Edward Porter. The collection even offers the chance to read a Christmas war dispatch from the late, great Hoosier journalist Ernie Pyle. Heartfelt and unique, “the stories, poems, and essays in An Indiana Christmas will stay with you long after reading, no matter the season” (Sarah Layden, author of The Story I Tell About Myself). “A curl-up book you will savor year after year.” —Margaret McMullan, author of Where the Angels Lived

How are ethnographic knowledge and anthropological theory created out of field experiences? Spanning Papua New Guinea, Taiwan, and Scotland, and Ireland, Stewart and Strathern show how fieldwork in apparently different areas can lead to unexpected comparisons and discoveries of similarities in human cross-cultural patterns of behavior.

"Neville's observations on inner and outer worlds deserve a large readership." —Studies in Short Fiction "Blending fictional and reportorial technique, Ms. Neville unwinds a tapestry of the Indiana seasons . . . in scene after remarkable scene she succeeds in disturbing and undermining one's calm. . . . moving . . . " —Christopher Lehmann-Haupt, The New York Times " . . . shrewedly perceptive studies of the poetics of place . . . Neville pierces the heart of this 'heart of the country,' unloosing disquieting images and poignant scenes that cling to your memory." —Belles Lettres "If there is darkness in this vision there is also compassion, a lucid and inclusive civility born of remembering how fragile are the houses of our lives." —Arts Indiana "A collection of essays, works of fiction and blends of those two genres, Indiana Winter is a poetic and disturbing interpretation of phenomena familiar to most of Neville's fellow Hoosiers—so familiar, in fact, that we may not really see them. . . . As a plunge into the blackness and glare of the examined life, Indiana Winter is a testament to courage." —Dan Carpenter, Indianapolis Star "These stories and essays are filled with great emotion and affection for the people and the land we've come to know as the Hoosier state." —Minneapolis Star Tribune " . . . a book that is firmly and honestly rooted in region, yet finds in its careful and lyrical examination of Indiana's people and places truths that move the prose pieces away from simple regionalism." —Sycamore Review A sensitive writer's imaginative essay-stories about spiritual boundaries and values in the state of Indiana and everywhere.

The House across from the Deaf School, Michael Gills’ third collection of short fiction, continues the life and times of Joey Harvell, whose stepfather, in “Last Words on Lonoke,” gives him a .30-06, tells him not to aim at anything he doesn’t want to kill, and “that’s pretty much it for [his] gun safety lessons.” Later, in “What The Newly Dead Don’t Know But Learn,” his uncle swims Joey and a group of fake cowboys across a creek on Camp Robinson, only a fisherman’s trotline is stretched across the S-curve, and the result, like the book as a whole, is a hard fight there’s no recovering from. What others have said about Gills' work: "Each word is a spark, every sentence a sizzling fuse. The whole...is a sun-white conflagration, cleanly and cleansing. Michael Gills sojourned in the heart of light and he has returned to his home world with that light still cling to his ever utterance.."—Fred Chappell "Michael Gills' prose reeks with accuracy and bulls-eye intensity..."—William Harrison "These stories are, scene by scene, sentence by sentence, beautifully written--clean, gorgeous prose, perfectly pitched. The detail work is exquisite. Suffering and loss are given their necessary place in these stories, but so too are grace and mercy.”—Donald Hays

DIVDIVThree compelling and unforgettable mysteries by Edgar Award winner David Housewright/divDIV /divDIVHolland Taylor is comfortable in interrogation rooms. For years the cold, dark cells of the Minneapolis homicide squad were his turf, and with the help of his partner he wrung confessions out of countless killers. But that was long ago. In Penance,Taylor is on the other side of the desk. Tonight he is the suspect./divDIV /divDIVTaylor’s career in the department ended after his wife and daughter were killed in a drunk driving accident. The culprit, John Brown, was sentenced to a measly six years for vehicular manslaughter, and Taylor vowed bloody vengeance in front of open court. After a few months of freedom, Brown is shot dead, and Taylor, now a private investigator, is called in as the obvious suspect. He didn’t kill Brown, but he will find out who did—even if it means tearing Minneapolis apart from the inside out./divDIV /divDIVIn Dearly Departed, Holland Taylor discovers a recording made by a woman named Alison Emerton explaining that if she is missing, it is because Raymond Fleck killed her. Fleck, a convicted rapist, lost his job at a kennel after Alison accused him of sexual harassment and stalking. She vanished soon after, leaving behind her wallet, coat, and boots, on a night when twenty-three inches of snow fell on Minneapolis. Her lawyer has hired Taylor to find her. But as Taylor digs into Alison’s past, he learns that Fleck was not the only person who wanted her dead./divDIV /divDIVIn Practice to Deceive, Florida widow and retiree Irene Gustafson is rich and alone. Following the advice of Ann Landers, Gustafson hands her money over to an investment manager. The returns are steady until he starts investing in Willow Tree, a low-income housing development on the fringes of the Twin Cities. The money vanishes, and the widow is destitute. That’s where Holland Taylor, Minneapolis private detective, comes in. His recently retired parents are her neighbors, and they want Taylor to recover the old lady’s money. It seems impossible, but as he investigates Willow Tree he finds a twisted real-estate conspiracy with deep roots in city politics—and a vicious killer hired to protect the secret./div/div