The Woods—Preston and Sara—must flee Arizona when they, along with Sara's parents and little brother Jasper, unwittingly get caught up in the plunder and sale of American Indian corpses and funerary objects. Preston, Sara, and Jasper end up in the Heber Valley of Utah, where they seek the support of Sara's Uncle Neff until they can be reunited with Sara's mother and father. But from the moment they ride into Heber, Preston and Sara learn that life in the valley is not as it appears, and that no matter how far we run, we cannot escape the past. Maximilian Werner is the author of Black River Dreams, a collection of literary fly fishing essays that won the 2008 Utah Arts Council's Original Writing Competition for Nonfiction: Book. Mr. Werner's poems, fiction, creative nonfiction, and essays have appeared in several journals and magazines, including Matter Journal: Edward Abbey Edition, Bright Lights Film Journal, The North American Review, ISLE, Weber Studies, Fly Rod and Reel, and Columbia. He lives in Salt Lake City with his wife and two children and teaches writing at the University of Utah.“Maximilian Werner is a fresh and grounded writer, a welcome and original new voice.” —Thomas McGuane, author of Driving on the Rim“Here in the deep measured prose of Max Werner is a western story, harsh and lush as the old world it depicts. Crooked Creek shows again that one of the natural laws of the wilderness—along with wind and stone and animals and family—is violence. Just as wind and water shaped the stone, trouble shaped these men. With its compelling, layered story, this rich book is a reader’s pleasure.” —Ron Carlson, author of The Signal“Max Werner’s Crooked Creek offers a haunting voyage into the past and into living landscapes sharpened by western light, resonating with the work of such authors as Cormac McCarthy and Wallace Stegner. A narrative of the vitality of family bonds, it is also a tale of the heroic struggle to carry the burden of memory and to transform history’s nightmares into visions of possibility, as Octavio Paz once argued was the high calling of literature. Crooked Creek reminds us of the tough aesthetic that is required to sustain hope in family, in community, and in the staggering and heartbreaking beauty of nature that Werner’s prose powerfully illuminates, while also reckoning with the dark sins of betrayal and violence that are the legacies of the American West. Werner convinces us that no meaningful sense of place is possible otherwise.”—George Handley, author of Home Waters: A Year of Recompenses on the Provo River

    This groundbreaking book seeks to reimagine objects from eighteenth-century Paris within their original context, showing how they were used in the daily routines of elite members of society. Against the background of the reign of Louis XV (r. 1723–1774), the chapters move chronologically from morning to night, covering such topics as temporal literacy and technological advances in timekeeping; innovations in domestic architecture and design for privacy; fashion and self-identity as expressed in the ritual of the morning toilette; reading and discussion of literary texts as influences on the collecting of art; and sociability and politesse during nocturnal entertainments.The book reflects current scholarship in social history and material culture, but rather than being an exploration of the vernacular, it investigates the emergence of the luxury trade in eighteenth-century Paris, whose products survive in great quantity due to their superior materials and craftsmanship. The essays reveal many of the considerations—practical, social, and aesthetic—that inspired their production. By connecting the purposes, function, and beauty of these works of art, the volume makes a fascinating and important contribution to the study and enjoyment of a great period in French culture. The publication coincides with the exhibition Paris: Life & Luxury on view at the J. Paul Getty Museum from April 26 through August 7, 2011 and at the Museum of Fine Arts, Houston, from September 18 through December 10, 2011.

    It emerged during the Archaic period when Greeks founded coastal city states and trading stations in ever-widening horizons from the Ukraine to Spain. No center directed theirdiffusion: mother cities were numerous and the new settlements (colonies) would often engender more settlements. The Greek center was at sea; it was formed through back-ripple effects of cultural convergence, following the physical divergence of independent settlements. The shores of Greece arelike hems stitched onto the lands of Barbarian peoples (Cicero). Overall, and regardless of distance, settlement practices became Greek in the making and Greek communities far more resembled each other than any of their particular neighbors like the Etruscans, Iberians, Scythians, or Libyans. Thecontrast between center and periphery hardly mattered (all was peri-, around), nor was a bi-polar contrast with Barbarians of much significance. Should we admire the Greeks for having created their civilization in spite of the enormous distances and discontinuous territories separating their independent communities? Or did the salient aspects of their civilization form and crystallize because of its architecture as a de-centralized network?This book claims that the answer lies in network attributes shaping a Small Greek World, where separation is measured by degrees of contact rather than by physical dimensions.