What the Thunder Said is the 2008 winner of the WILLA Literary Award for Contemporary Fiction. In the Dust Bowl of 1930s Oklahoma, a family comes apart, as sisters Mackie and Etta Spoon keep secrets from their father, and from each other. Etta, the dangerously impulsive favorite of her father, longs for adventure someplace far away from the bleak and near-barren plains, and she doesn't care how she gets there; watchful Mackie keeps house and obeys the letter of her father's law, while harboring her own dreams. After the massive 1935 Black Sunday dust storm brings ruin to the family, the sisters' conflict threatens further damage. Seeking escape, and wagering their futures on an Indian boarding school runaway named Audie Kipp, the two leave home to forge their own separate paths, each setting off in search of a new life, each finding a fate different than she expected. Through shifting perspectives, voices, and characters, What the Thunder Said tracks their wayward progress, following the sisters, their children, and those whose stories intersect with theirs as they range across the high plains of the West in the decades after the Great Depression. Etta's hitchhiking encounter with a bookish couple in the Garden of the Gods; a prairie jackrabbit drive, during which Mackie's son, Jesse, discovers the cloth he's cut from; an old man's failing memory as he tells of spying on an Indian loner on the outskirts of a Kansas town; a middle-aged doctor's chance meeting with a mysterious wayfarer while on a quest to New Mexico in search of his lost youth; and Mackie's late reconciliation with her aged father, whose habit of silence has bred her own---all are rendered in vivid prose that captures the plains and the people who endured devastation and lived to look back on it. Slow-gathering, powerful, with passages of haunting beauty, What the Thunder Said is the long-awaited third work of fiction by one of our most acclaimed storytellers.

By every principle of war, every shred of military logic, logistics support to Canada’s Task Force Orion in Afghanistan should have collapsed in July 2006. There are few countries that offer a greater challenge to logistics than Afghanistan, and yet Canadian soldiers lived through an enormous test on this deadly international stage - a monumental accomplishment. Canadian combat operations were widespread across southern Afghanistan in 2006, and logistics soldiers worked in quiet desperation to keep the battle group moving. Only now is it appreciated how precarious the logistics operations of Task Force Orion in Kandahar really were. What the Thunder Said is an honest, raw recollection of incidents and impressions of Canadian warfighting from a logistics perspective. It offers solid insight into the history of military logistics in Canada and explores in some detail the dramatic erosion of a once-proud corner of the army from the perspective of a battalion commander.

This spare, powerful novel by a National Book Award finalist chronicles two sisters growing up in 1930s Oklahoma and the secrets that drive them apart for the rest of their lives.

The last major verse written by Nobel laureate T. S. Eliot, considered by Eliot himself to be his finest work Four Quartets is a rich composition that expands the spiritual vision introduced in “The Waste Land.” Here, in four linked poems (“Burnt Norton,” “East Coker,” “The Dry Salvages,” and “Little Gidding”), spiritual, philosophical, and personal themes emerge through symbolic allusions and literary and religious references from both Eastern and Western thought. It is the culminating achievement by a man considered the greatest poet of the twentieth century and one of the seminal figures in the evolution of modernism.

This murder story features a Rhodesian farmer's wife and her houseboy.

Kenzaburo Oe was awarded the Nobel Prize in Literature for creating "an imagined world, where life and myth condense to form a disconcerting picture of the human predicament today." In Death by Water, his recurring protagonist and literary alter-ego returns to his hometown village in search of a red suitcase fabled to hold documents revealing the details of his father’s death during WWII: details that will serve as the foundation for his new, and final, novel. Since his youth, renowned novelist Kogito Choko planned to fictionalize his father’s fatal drowning in order to fully process the loss. Stricken with guilt and regret over his failure to rescue his father, Choko has long been driven to discover why his father was boating on the river in a torrential storm. Though he remembers overhearing his father and a group of soldiers discussing an insurgent scheme to stage a suicide attack on Emperor Mikado, Choko cannot separate his memories from imagination and his family is hesitant to reveal the entire story. When the contents of the trunk turn out to offer little clarity, Choko abandons the novel in creative despair. Floundering as an artist, he’s haunted by fear that he may never write his tour de force. But when he collaborates with an avant-garde theater troupe dramatizing his early novels, Kogito is revitalized by revisiting his formative work and he finds the will to continue investigating his father’s demise. Diving into the turbulent depths of legacy and mortality, Death by Water is an exquisite examination of resurfacing national and personal trauma, and the ways that storytelling can mend political, social, and familial rifts.

On the 100th anniversary of T. S. Eliot’s modernist masterpiece, a rich cultural history of The Waste Land’s creation, explosive impact, and enduring influence When T. S. Eliot published The Waste Land in 1922, it put the thirty-four-year-old author on a path to worldwide fame and the Nobel Prize. “But,” as Jed Rasula writes, “The Waste Land is not only a poem: it names an event, like a tornado or an earthquake. Its publication was a watershed, marking a before and after. It was a poem that unequivocally declared that the ancient art of poetry had become modern.” In What the Thunder Said, Rasula tells the story of how The Waste Land changed poetry forever and how this cultural bombshell served as a harbinger of modernist revolution in all the arts, from abstraction in visual art to atonality in music. From its famous opening, “April is the cruellest month, breeding / Lilacs out of the dead land,” to its closing Sanskrit mantra, “Shantih shantih shantih,” The Waste Land combined singular imagery, experimental technique, and dense allusions, boldly fulfilling Ezra Pound’s injunction to “make it new.” What the Thunder Said traces the origins, reception, and enduring influence of the poem, from its roots in Wagnerism and French Symbolism to the way its strangely beguiling music continues to inspire readers. Along the way, we learn about Eliot’s storied circle, including Wyndham Lewis, Virginia Woolf, and Bertrand Russell, and about poets like Mina Loy and Marianne Moore, whose innovations have proven as consequential as those of the “men of 1914.” Filled with fresh insights and unfamiliar anecdotes, What the Thunder Said recovers the explosive force of the twentieth century’s most influential poem.

A guidebook to the allusions of T.S. Eliot's notorious poem, The Waste Land , Reading The Waste Land from the Bottom Up utilizes the footnotes as a starting point, opening up the poem in unexpected ways. Organized according to Eliot's line numbers and designed for both scholars and students, chapters are free-standing and can be read in any order.

Line-by-line analysis of T. S. Eliot's The Wasteland--Cover.

A collection of essays analyzing Eliot's The waste land, including a chronology of his works and life.