Here are exiles, emigrants, and wanderers uprooting their families from the Philippines to begin new lives in the Middle East, the United States, and elsewhere—and, sometimes, turning back again. A pharmacist living in New York smuggles drugs to his ailing father in Manila, only to discover alarming truths about his family and his past. In Bahrain, a Filipina teacher drawn to a special pupil finds, to her surprise, that she is questioning her own marriage. A college student leans on her brother, a laborer in Saudi Arabia, to support her writing ambitions, without realizing that his is the life truly made for fiction. And in the title story, a journalist and a nurse face an unspeakable trauma amidst the political turmoil of the Philippines in the 1970s and ’80s.In the Country speaks to the heart of everyone who has ever searched for a place to call home. From teachers to housemaids, from mothers to sons, Alvar’s powerful debut collection explores the universal experiences of loss, displacement, and the longing to connect across borders both real and imagined. Deeply compassionate and richly felt, In the Country marks the emergence of a formidable new writer.

    Covers emotional and narrative terrain, from an immaculate observation of the female physiognomy to the bewilderment of the elderly; from silent hidden love to a lifetime reminiscence of an immigrant's England.

    The interactions between Jake, Joni, Angie, and Vic reveal a hellish cocktail of adolescent ad mid-life crises, the savagery of sibling rivalry, the waking nightmare of a marriage gone cold, and, naturally, the unbridgeable, infernal chasm between the generations. It's a story of everyday life.

    The use of metaphor is delicate and subtle; often the women are strong and capable and the men less so; shallow and selfish motives are exposed.The dates of these stories range from 1909 to 1986 and there are thirty in all. The ten stories which are already in print in Persephone editions of their work are by Katherine Mansfield, Irène Némirovsky, Mollie Panter-Downes (twice), Elizabeth Berridge, Dorothy Whipple, Frances Towers, Margaret Bonham, Diana Gardner and Diana Athill. The ten stories which have already been published in the Quarterly and Biannually are by EM Delafield; Dorothy Parker; Dorothy Whipple; Edith Wharton; Phyllis Bentley; Dorothy Canfield Fisher; Norah Hoult; Angelica Gibbs; Penelope Mortimer; and Georgina Hammick. And lastly the ten stories which are new are by Susan Glaspell, Pauline Smith, Malachi Whitaker, Betty Miller, Helen Hull, Kay Boyle, Shirley Jackson, Sylvia Townsend Warner, Elizabeth Spencer and Penelope Fitzgerald.

    With 30 fast approaching, she's determined to do whatever it takes to find love - or at least someone to sext! Cheered on by best friends Ashley and Raj, Zara embarks on a string of dating escapades that are as hilarious as they are disastrous. From online dating to blind dates, hometown hook-ups to flirty bartenders, nothing is off limits.But when Dr Tom Adams, aka Sugar Daddy, shows interest, it's a game-changing moment. Zara has had a crush on Tom since her very first day at the aesthetics clinic she works at part-time. As things heat up between them, Zara can't help but wonder: is this it? Or is it another disaster waiting to happen?

    What would she have done on Mure? It's a place where everyone has known her all her life, where no one will let her forget the past. In bright, bustling London, she can be anonymous, ambitious... and hopelessly in love with her boss.But when fate brings Flora back to the island, she's suddenly swept once more into life with her brothers -- all strapping, loud, and seemingly incapable of basic housework -- and her father. Yet even amid the chaos of their reunion, Flora discovers a passion for cooking -- and find herself restoring dusty little pink-fronted shop on the harbour: a café by the sea.But with the seasons changing, Flora must come to terms with past mistakes -- and work out exactly where her future lies...

    She knows there is something wrong with her but she doesn't know what it is. Her husband Patrick thinks she is fine. He says everyone has something, the thing is just to keep going.Martha told Patrick before they got married that she didn't want to have children. He said he didn't mind either way because he has loved her since he was fourteen and making her happy is all that matters, although he does not seem able to do it.By the time Martha finds out what is wrong, it doesn't really matter anymore. It is too late to get the only thing she has ever wanted. Or maybe it will turn out that you can stop loving someone and start again from nothing - if you can find something else to want.

    Be civil in a hostile environment. Go to college, get an education, start a career. Do all the right things. Buy an apartment. Buy art. Buy a sort of happiness. But above all, keep your head down. Keep quiet. And keep going.The narrator of Assembly is a black British woman. She is preparing to attend a lavish garden party at her boyfriend’s family estate, set deep in the English countryside. At the same time, she is considering the carefully assembled pieces of herself. As the minutes tick down and the future beckons, she can’t escape the question: is it time to take it all apart?Assembly is a story about the stories we live within – those of race and class, safety and freedom, winners and losers.And it is about one woman daring to take control of her own story, even at the cost of her life. With a steely, unfaltering gaze, Natasha Brown dismantles the mythology of whiteness, lining up the debris in a neat row and walking away.

     The Andreas family is one of readers. Their father, a renowned Shakespeare professor who speaks almost entirely in verse, has named his three daughters after famous Shakespearean women. When the sisters return to their childhood home, ostensibly to care for their ailing mother, but really to lick their wounds and bury their secrets, they are horrified to find the others there. See, we love each other. We just don't happen to like each other very much. But the sisters soon discover that everything they've been running from-one another, their small hometown, and themselves-might offer more than they ever expected.

    Dragged from the chamber of the heavily pregnant Mary, Rizzio was stabbed fifty six times by a party of assassins. This breathtakingly tense novella dramatises the events that led up to that night, telling the infamous story as it has never been told before.A dark tale of sex, secrets and lies, Rizzio looks at a shocking historical murder through a modern lens—and explores the lengths that men and women will go to in their search for love and power.Rizzio is nothing less than a provocative and thrilling new literary masterpiece.

    Now she has seamlessly turned her hand to fiction and delivers a novel that is lush and beautiful, a touching and intimate portrait of several generations of African women. In Ancestor Stones, a young woman from West Africa, who has lived in England for many years and is married to a British man, returns to visit her family after years of civil war. Her four aunts have decided to leave her the family coffee plantation, as she is the last person in the family with the means to revive its fortunes. And on this trip home she is given an unprecedented look into the lives of the women in her family as her aunts Mary, Hawa, Asana, and Serah— women who were mysterious and a bit intimidating to her younger self—begin to tell her their stories. They are timeless tales of rivalrous co-wives, patriarchal society, and old religions challenged by Islamic and Christian incursions; they are modern stories of European-owned mining companies, the repressive influence of mission schools, corrupt elections, and the postcolonial African elite. Through their voices a family history interwoven with the history of a country emerges—one of a society both ancient and modern, of a family of strong women refusing to live as second-class citizens. In her debut foray into fiction, Forna has created a powerful, sensuously written novel that, through the lives of women, beautifully captures Africa’s past and present, and the legacy that her daughters take with them wherever they live. It is a wonderful achievement that recalls The God of Small Things and The Joy Luck Club, and establishes Forna as a gifted novelist.

    Thomas presents interesting heroines: there's the girl in "Sisters" who hates her younger sibling for (among other things) her precise memory. In "Seeing Things," Maude, who "wants to be tan the whole year round," and whose "great ambition is to be whistled at on the street," is told by her younger sister, "You look ridiculous smoking with the chicken pox." And then there are the four stories about Buddy and Virginia, who have to drop out of school and get married after she gets pregnant. From sibling rivalry to marital strife, Thomas uncovers the pain, the poignancy, and the belief in love that lie in the hearts of her heroines.

    Here, in the dizzying heat of August 1939, five cousins have gathered at their aunt's house for their annual ritual of a holiday. For most of them it is the last summer of their youth, with the heady exhilarations and freedoms of lost innocence, as well as the fears of the coming war.The Camomile Lawn moves from Cornwall to London and back again, over the years, telling the stories of the cousins, their family and their friends, united by shared losses and lovers, by family ties and the absurd conditions imposed by war as their paths cross and recross over the years. Mary Wesley presents an extraordinarily vivid and lively picture of wartime London: the rationing, imaginatively circumvented; the fallen houses; the parties, the new-found comforts of sex, the desperate humour of survival - all of it evoked with warmth, clarity and stunning wit. And through it all, the cousins and their friends try to hold on to the part of themselves that laughed and played dangerous games on that camomile lawn.

    In a tour de force that could be described as Altmanesque, we are invited into the private lives of the residents of a quiet urban street in England over the course of a single day. In delicate, intricately observed closeup, we witness the hopes, fears, and unspoken despairs of a diverse community: the man with painfully scarred hands who tried in vain to save his wife from a burning house and who must now care for his young daughter alone; a group of young clubgoers just home from an all-night rave, sweetly high and mulling over vague dreams; the nervous young man at number 18 who collects weird urban junk and is haunted by the specter of unrequited love. The tranquillity of the street is shattered at day's end when a terrible accident occurs. This tragedy and an utterly surprising twist provide the momentum for the book. But it is the author's exquisite rendering of the ordinary, the everyday, that gives this novel its freshness, its sense of beauty, wonder, and hope. Rarely does a writer appear with so much music and poetry -- so much vision -- that he can make the world seem new.

    "Until that moment, I hadn't realized how much I'd been needing to meet someone I might be able to say everything to."They met at a party.  It was hate at first sight.  Ruth was far too beautiful, too flamboyant.  Not at all Ann's kind of person.  Until a chance encounter in the bathroom led to an alliance of souls.  Soon they were sharing hankies during the late showing of "Sophie's Choice," wolfing down sundaes sodden with whipped cream, telling truths of marriage, mortality, and love, secure in a kind of intimacy no man could ever know.  Only best friends understand devil's food cake for breakfast when nothing else will do.  After years of shared secrets, guilty pleasures, family life and divorce, they face a crisis that redefines the meaning of friendship and unconditional love.