Juno and the Paycock has been produced throughout the world and offers a compelling look at the family conflicts of struggling Irish matriarch Juno Boyle's Herculean attempts to keep her children safe and her husband "Captain" Jack Boyle sober despite his foolish schemes and the ongoing "troubles" in early 20th century Dublin.

    It needs a close and interpretive reading of his Book of Songs it needs a general knowledge of the politically experimental and altogether chaotic times of which he was so fiery a product; and it needs, first and last, the constant reminder that Heine was a sensitive Jew, born in a savagely anti-semitic country that taught him, even as a child, that Jew and pariah were synonymous terms. The traditions and tyrannies that weighed down on all the German people of his day were slight compared to the oppressions imposed upon the Jews. The demands upon them, the petty persecu tions, the rigorous orders and taboos would form an incredible list. Let these few facts suffice: In Frank fort, when Heine was a boy, no Jew might enter a park or pleasure resort; no Jew might leave his ghetto after four o'clock on a Sunday afternoon; and only twenty four Jews were allowed to marry in one year. In such an atmosphere Heine received his heritage of hate and his baptism of fire.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

    He’s seventeen, I'm thirty-three. I was his teacher. I’d have killed myself by now if I was brave enough. I don’t think it would hurt the baby. His little heart would stop with mine. He wouldn't feel himself leaving one world of darkness for another, his spirit untangling itself from me.’Melody Shee is alone and in trouble. Her husband doesn't take her news too well. She doesn't want to tell her father yet because he’s a good man and this could break him. She’s trying to stay in the moment, but the future is looming – larger by the day – while the past won’t let her go. What she did to Breedie Flynn all those years ago still haunts her.It’s a good thing that she meets Mary Crothery when she does. Mary is a young Traveller woman, and she knows more about Melody than she lets on. She might just save Melody’s life.Donal Ryan’s new novel is breathtaking, vivid, moving and redemptive.

    Its appearance signaled the birth of genius who was soon to make all of Russia resound with his name. The Sun of Russian poetry, as the poet came later to be called, was rising.

    These poems, written by the prolific Chilean poet between the 1920's and 1940's, illuminate his views on alienation and political oppression.

    As John Banville writes in his introduction to The Love Object, Edna O'Brien "is, simply, one of the finest writers of our time." The thirty-one stories collected in this volume provide, among other things, a cumulative portrait of Ireland, seen from within and without. Coming of age, the impact of class, and familial and romantic love are the prevalent motifs, along with the instinct toward escape and subsequent nostalgia for home. Some of the stories are linked and some carry O'Brien's distinct sense of the comical. In "A Rose in the Heart of New York," the single-mindedness of love dramatically derails the relationship between a girl and her mother, while in "Sister Imelda" and "The Creature" the strong ties between teacher and student and mother and son are ultimately broken. "The Love Object" recounts a passionate affair between the narrator and her older lover. The magnificent, mid-career title story from Lantern Slides portrays a Dublin dinner party that takes on the lives and loves of all the guests. More recent stories include "Shovel Kings" -- "a masterpiece of compression, distilling the pain of a lost, exiled generation" (Sunday Times) -- and "Old Wounds," which follows the revival and demise of the friendship between two elderly cousins. In 2011, Edna O'Brien's gifts were acknowledged with the most prestigious international award for the story, the Frank O'Connor Short Story Award. The Love Object illustrates a career's worth of shimmering, potent prose from a writer of great courage, vision, and heart. "The most striking aspect of Edna O'Brien's short stories, aside from the consistent mastery with which they are executed, is their diversity."-John Banville

    After a childhood in Brooklyn, he spent many years in and around Manhattan and Washington, where he witnessed troops returning from the Civil War and tended wounded soldiers in the camp hospitals. Whitman's broad humanity, his love of cities (especially Manhattan), his sympathy with all conditions of people, and his visionary - even prophetic - sense of the reality of the American dream make him as much a poet for our time as he was for the time of the American Civil War and its aftermath. This selection of courageous and consoling poems focuses on Whitman's vision of democracy, his love of Manhattan, his sense of the future - and of the community of peoples of this earth.

    It is a masterly historical novel, rich in language, character, and plot--a panoramic story of passion, tragedy, and resilience.

    Like it or not, it outwits whatever I then thought to say and gains thereby whatever I was in saying it. Thankfully, I was never what I thought I was, certainly never enough. Otherwise, when it came time to think specifically of this collection and of what might be decorously omitted, I decided to stick with my initial judgments, book by tender book, because these were the occasions most definitive of what the poems might mean, either to me or to anyone else. To define their value in hindsight would be to miss the factual life they had either made manifest or engendered. So everything that was printed in a book between the dates of 1945 and 1975 is here included as are also those poems published in magazines or broadsides. In short, all that was in print is here. I'm delighted that they are all finally together, respected, included, each with their place--like some ultimate family reunion! I feel much relieved to see them now as a company at last. I'm tempted to invoke again those poets who served as a measure and resource for me all my life as a poet. But either they will be heard here, in the words and rhythms themselves, or one will simply know the. This time I am, in this respect, alone these are my poems. We are a singular compact. Finally, there's no end to any of it, or none we'll know that simply. But I'm very relieved that this much, like they say, is done. So be it.

    Contending with the perils and the varied cast of characters of the marriage market, Belinda strides resolutely toward independence. Admired by her contemporary, Jane Austen, and later by Thackeray and Turgenev, Edgeworth tackles issues of gender and race in a manner at once comic and thought-provoking. The 1802 text used in this edition also confronts the difficult and fascinating issues of racism and mixed marriage, which Edgeworth toned down in later editions.

    Over the weeks leading up to this upheaval, she talks often with her psychiatrist Dr Grene, and their relationship intensifies and complicates.Told through their respective journals, the story that emerges is at once shocking and deeply beautiful. Refracted through the haze of memory and retelling, Roseanne's story becomes an alternative, secret history of Ireland's changing character and the story of a life blighted by terrible mistreatment and ignorance, and yet marked still by love and passion and hope.

    Known as one of the greatest poets of the Restoration, he wrote and published popular satirical and bawdy poetry. This complete collection of his poetry presented in this paperback edition by Filiquarian Publishing, is a classic and should be read by those interested in the writings of John Wilmot, and satire writings throughout history. You can't go wrong with classic poems such as, "Signior Dildo," "By All Love's Soft, Yet Mighty Powers," and "A Satyre Against Mankind."

    In Stepping Stones, a book of interviews conducted by Dennis O'Driscoll, Heaney acknowledged the significance of the poem to his writing, noting that "there's one Virgilian journey that has indeed been a constant presence, and that is Aeneas's venture into the underworld. The motifs in Book VI have been in my head for years--the golden bough, Charon's barge, the quest to meet the shade of the father."In this new translation, Heaney employs the same deft handling of the original combined with the immediacy of language and sophisticated poetic voice as was on show in his translation of Beowulf, a reimagining which, in the words of James Wood, "created something imperishable and great that is stainless--stainless, because its force as poetry makes it untouchable by the claw of literalism: it lives singly, as an English language poem."

    But if Neruda is blazing fire, Tranströmer is expanding ice. The Great Enigma: New Collected Poems gathers all the poems Tomas Tranströmer has published: from his distinctive first collection in 1954, 17 Poems, through his epic poem Baltics ("my most consistent attempt to write music"), and The Sad Gondola, published six years after he suffered a debilitating stroke in 1990 ("I am carried in my shadow / like a violin / in its black case."), to his most recent slim book, The Great Enigma, published in Sweden in 2004. Also included is his prose-memoir Memories Look at Me, containing keys into his intensely spiritual, metaphysical poetry (like the brief passage of insect collecting on Runmarö Island when he was a teenager). Firmly rooted in the natural world, his work falls between dream and dream; it probes "the great unsolved love" with the opening up, through subtle modulations, of "concrete words."

    Here is the green and carefree world of a boy who delights in the possibilities of each day, of a child who wrings from every moment a feeling as intensely magical as it is profoundly innocent.