The stories collected in This Is Not the Tropics come from the geographic center of a divided nation, and its protagonists evoke a split personality-one half submerged in America's own diehard mythology, the other half searching to escape tradition. Together they form a portrait of the Plains that is both quirky and poignant. While the themes in this collection are familiar-love and betrayal, loneliness and regret, the needs of the individual versus the needs of the community-the tales themselves are startling and new. Whether it is the story of an eccentric out-of-work accordion player; a woman ending a long marriage against the backdrop of a visit from her failing mother; a young girl who wishes to solve a mystery until real mystery enters her life; or all of the men in a small Nebraska town who annually compete in a hilariously earnest beauty pageant, these are tales that speak of the lives lived in the small towns, the prairie cities, and on the dirt roads off blue highways in the middle of nowhere and everywhere.

In 2015, when cyberbullies disrupt her life in Southern California, Vivi Marx decides to cut her cord with the internet and take her life offline for a year. She flees to the one place where she felt safe as a child—with her grandmother in Lincoln, Nebraska. Nevermind that her grandmother is long dead and she doesn’t know anyone else in the state. Even before she meets her new neighbors on Fieldcrest Drive, Vivi knows she’s made a terrible mistake, but every plan she makes to leave is foiled. Despite her efforts to outrun it, trouble follows her to Nebraska, just not in the ways she’d feared. With the help of her neighbors, Willa Cather’s novels, and her own imagination, Vivi finds something she hadn’t known she was searching for.

Early July, and the corn in eastern Nebraska stands ten feet tall; after a near-decade of drought, it seems too good to be true, and everyone is watching the sky for trouble. For the Grebels, whose plots of organic crops trace a modest patchwork among the vast fields of soybeans and corn, trouble arrives from a different quarter in the form of Elsa's voice on her estranged son's answering machine: "Your father's dead. You'll probably want to come home." When a tractor accident fells the patriarch of this Mennonite family, the threads holding them together are suddenly drawn taut, singing with the tensions of a lifetime's worth of love and faith, betrayal and shame. Through the competing voices of those gathered for Haven Grebel's funeral, acts of loyalty and failures, long-suppressed resentments and a tragic secret are brought to light, expressing a larger, complex truth.

After her life as she knows it ends in heartbreak, Mary Rasmussen, a strong-willed and independent young ranch woman living in the Sandhills of western Nebraska, suddenly feels that everything she has believed in-God, her instincts, the land itself-has failed her. She abandons her cultural and emotional ties, succumbing to circumstances she thinks she is powerless to control. In a rash decision, she marries a conservative, patriarchal preacher who doesn't understand her, the ranching community, or anything beyond his own beliefs. Mary's inner turmoil builds as she comes to appreciate the gravity of her situation and the need to take action.

A vast, barren landscape or a place of subtle natural beauty; the middle of nowhere or the gateway to the cultural and historical riches of the West; many things to many people and a cipher to many more--the great state of Nebraska is by force of circumstances a place of possibilities. What these possibilities are and what they promise are precisely what the writers of "The Big Empty "tell us. Exploring the state from its rural reaches to its urban engines, from its marvelous ecosystems to its myriad historical and cultural offerings, these narratives evoke Nebraska in all its facets. Writers as diverse as Ron Hansen, Ted Kooser, Michael Anania, Bob Kerrey, Mary Pipher, Delphine Red Shirt, and William Kloefkorn, among many others, bring a wealth of perspectives and styles to topics such as the Oregon Trail and the Cheyenne Exodus, farming and Internet cafes, politics, weather, and family secrets. The result is a portrait whose broad strokes and rich detail capture the mysterious character of Nebraska.

O Pioneers was oh so long ago, and yet Willa Cather's masterpiece has proven to be an enduring template for readers' notions of Nebraska writing. The short stories collected here, so richly various in style, theme, and subject matter, should put an end to any such plain thinking about writing from this anything-but-plain state. Nebraska writers all, the authors explore the Midwest, a vastness of small towns, corn, cattle, football, and family businesses. They also venture far afield, to desolate western lives, crowded urban relationships, poignant couplings, comic families, and the worldly idiosyncrasies of characters everywhere. Whether about aging or coming-of-age, leave-taking or coming home, falling apart or finding love, these stories represent contemporary fiction at its best, from the high style of Richard Dooling's "Immortal Man" to Kent Haruf's soft-spoken "Dancing," from Ron Hansen's "My Communist" to Jonis Agee's earthy, offbeat "Binding the Devil." Original, spirited, and surprising, these contemporary writings depict a modern world on the move and extend the tradition of great fiction from Nebraska into the twenty-first century. Ladette Randolph, the associate director and humanities editor at the University of Nebraska Press. She is the author of a collection of short stories This Is Not the Tropics (2006) and recipient of numerous awards, including the Virginia Faulkner Award, Rona Jaffe Foundation Writer's Award, and a Pushcart Prize. Mary Pipher has taught clinical psychology at the University of Nebraska-Lincoln and is the author of several books, including the bestseller Reviving Ophelia: Saving the Selves of Adolescent Girls.