Two daredevil flyers and the young woman they both love lie at the heart of this mesmerizing novel about the Japanese internment during World War II, from the author of The Other Typist and Three-Martini Lunch. "An epic love story set against a time of upheaval." —Adriana Trigiani "Majestic. . . . Profoundly relevant in today’s world." —Fiona Davis Louis Thorn and Harry Yamada are boyhood friends divided by family differences. But their childhood camaraderie reignites when they are convinced to perform death-defying tricks as Eagle & Crane in Earl Shaw’s Flying Circus —until their mutual attraction to Shaw’s stepdaughter, smart and beautiful Ava Brooks, complicates things anew. Then Pearl Harbor is bombed in December 1941 and Harry is imprisoned in a Japanese American internment camp. When a Shaw stunt plane crashes soon after Harry and his father leave the camp without permission, the two bodies discovered are assumed to be theirs. But the details don’t add up, and no one involved seems willing to tell the truth. An absorbing mystery and story of love, Eagle & Crane explores race, family, and loyalty in a fraught era of American history. “Rindell joins the ranks of popular historical fiction authors Kristin Hannah and Kate Quinn with this fast-paced, gripping novel.” —Library Journal (starred review)

In an ever-expanding city, one young man claims the job of his dreams, operator of the tallest crane around. Since others envy his position, he never leaves his crane, always eager for the day—and work—to begin. As the seasons pass, man and machine almost become one. "The crane was a giant with iron sinews, and the craneman was its heart." Then people begin to hoard their goods, grinning ravens multiply throughout the land, and war is at hand. But the craneman never falters, remaining at his post even when the land is flooded, ready for reconstruction to begin.

This study examines Hart Crane's canonical ambitions in The Bridge and argues for a new species of epic, 'the modernist epic,' which also includes Pound's The Cantos, Eliot's The Waste Land, and Williams's Paterson. It offers a close reading of The Bridge as a hybrid of lyric and epic modes. Crane's sublime and history converge in a complex synthesis of form and ideas. The study reconceives Crane's achievement by locating him in an intertextual system of production while also recognizing his poetic making of self. Yet in this work Crane assumes a greater political presence than much commentary has entertained.

Louis Thorn and Haruto `Harry¿ Yamada ¿ the Eagle and the Crane ¿ are the star attractions of a daredevil aerial stunt team that traverses Depression-era California. The young men have a complicated relationship, thanks to the Thorn family¿s belief that the Yamadas ¿ Japanese immigrants ¿ stole land from the Thorn family. This tension is inflamed when Louis and Harry both drawn to the same woman, Ava. After the Japanese bomb Pearl Harbor there are changes and harsh realities to face. And when one of the stunt planes crashes with two charred bodies inside, the ensuing investigation struggles when the details don¿t add up and no one seems willing to tell the truth.

Historical papers are prefixed to several issues.

In one of his letters Hart Crane wrote, "Appollinaire lived in Paris, I live in Cleveland, Ohio," comparing—misspelling and all—the great French poet’s cosmopolitan roots to his own more modest ones in the midwestern United States. Rebelling against the notion that his work should relate to some European school of thought, Crane defiantly asserted his freedom to be himself, a true American writer. John T. Irwin, long a passionate and brilliant critic of Crane, gives readers the first major interpretation of the poet’s work in decades. Irwin aims to show that Hart Crane’s epic The Bridge is the best twentieth-century long poem in English. Irwin convincingly argues that, compared to other long poems of the century, The Bridge is the richest and most wide-ranging in its mythic and historical resonances, the most inventive in its combination of literary and visual structures, the most subtle and compelling in its psychological underpinnings. Irwin brings a wealth of new and varied scholarship to bear on his critical reading of the work—from art history to biography to classical literature to philosophy—revealing The Bridge to be the near-perfect synthesis of American myth and history that Crane intended. Irwin contends that the most successful entryway to Crane’s notoriously difficult shorter poems is through a close reading of The Bridge. Having admirably accomplished this, Irwin analyzes Crane’s poems in White Buildings and his last poem, "The Broken Tower," through the larger context of his epic, showing how Crane, in the best of these, worked out the structures and images that were fully developed in The Bridge. Thoughtful, deliberate, and extraordinarily learned, this is the most complete and careful reading of Crane’s poetry available. Hart Crane may have lived in Cleveland, Ohio, but, as Irwin masterfully shows, his poems stand among the greatest written in the English language.