Joyce McDonald – författare

It’s 1959 in Benevolence, Florida, and life is as sweet as a Valencia orange for 15-year-old Dove Alderman. Whether she’s sipping cherry Cokes with her girlfriends and listening to the Everly Brothers, eating key lime pie made by her housekeeper, Delia, or cruising around town with the coolest boy in school in his silver-blue T-bird convertible, Dove’s days are as smooth and warm as the soft sand in her father’s orange groves.But there’s trouble brewing among the local migrant workers. Mysterious fires have broken out, and rumors are spreading that disgruntled pickers are to blame. Suddenly, black and white become a muddy shade of gray, and whispers of the KKK drift through the Southern air like sighs. The Klan could never exist in a place like Benevolence, Dove tells herself. Or could it?From the Hardcover edition.

It begins with a free and joyful act--but from then on, Michael finds it impossible even to remember what it felt like to be free and joyful.  When he fires his new rifle into the air on his seventeenth birthday, he never imagines that the bullet will end up killing someone.  But a mile away, a man is killed by that bullet as he innocently repairs his roof.  And Michael keeps desperately silent while he watches his world crumble.Meanwhile Jenna, the dead man''s daughter, copes with desperation of her own.  Through her grief, she tries to understand why she no longer feels comfortable with her boyfriend and why a near stranger named Michael keeps appearing in her dreams.Suspenseful and powerfully moving, this is the unforgettable story of an accidental crime and its haunting web of repercussions.

Simon Gray is the ideal teenager — smart, reliable, hardworking, trustworthy. Or is he? After Simon crashes his car into The Liberty Tree, another portrait starts to emerge. Soon an investigation has begun into computer hacking at Simon’s high school, for it seems tests are being printed out before they are given. Could Simon be involved?Simon, meanwhile, is in a coma — but is this another appearance that may be deceiving? For inside his own head, Simon can walk around and talk to some people. He even seems to be having a curious conversation with a man who was hung for murder 200 years ago, in the branches of the same tree Simon crashed into. What can a 200-year-old murder have to do with Simon’s accident? And how do we know who is really innocent and who is really guilty?

McDonald demonstrates that Cather's works yield a remarkable wealth of themes and literary modes connecting her to the South of her youth and to the southern literary tradition.A diverse and experimental writer who lived most of her life in New York City, Willa Cather is best known for her depiction of pioneer life on the Nebraska plains. Despite Cather's association with Nebraska, however, the novelist's Virginia childhood and her southern family were deeply influential in shaping her literary imagination.Joyce McDonald shows evidence, for example, of Cather's southern sensibility in the class consciousness and aesthetic values of her characters and in their sense of place and desire for historical continuity, a sensibility also evident in her narrative technique of weaving stories within stories and in her use of folklore. For McDonald, however, what most links Cather and her work to the South and to the southern literary tradition is her use of pastoral modes.Beginning with an examination of Cather's Virginia childhood and the southern influences that continued to mold her during the Nebraska years, McDonald traces the effects of those influences in Cather's novels. The patterns that emerge reveal not only Cather's strong ideological connection to the pastoral but also the political position implicit in her choice of that particular mode. Further analysis of Cather's work reveals her preoccupation with hierarchical constructs and with the use and abuse of power and her interest in order, control, and possession. The Willa Cather who emerges from the pages of The Stuff of Our Forebears is not the Cather who claimed to eschew politics but a far more political novelist than has heretofore been perceived.