It exposes the reality of the dark, claustrophobic world of the Provisionals: the iron grip they hold over their communities; their ruthless and cynical disregard for human life; the single-minded professionalism of some IRA volunteers — and the rank incompetence of others. Raymond Gilmour learned the brutal facts of life in Northern Ireland at an early age. Beatings, murders and knee-cappings were common currency on the dead-end Derry estate where he grew up, and despite the omnipresence of British. soldiers no one was in any doubt about who really held the balance of power. Many young Catholics, with few options and fewer jobs open to them, joined the terrorists as volunteers. So, at the age of sixteen, did Ray Gilmour — but his recruitment had a vital and deadly difference: his brief to infiltrate the IRA, sabotage their activities, and report back to his Special Branch contact. So began nearly a decade of life in no-man's-land, an impossibly dangerous double life where every day brought with it a new and potentially terminal threat. Gilmour relates in gripping style the hazards of playing along with the shootings and bombings while secretly trying to subvert them; the constant fear of exposure, torture and execution by his IRA `comrades' — and the tension of wondering when he might out-live his usefulness and be sacrificed by the shadowy men from MI5. Incredibly, Gilmour not only avoided exposure and sacrifice, he also became one of the RUC's most valued agents, foiling countless terrorist attacks and helping the police seize huge quantities of arms and explosives. As one RUC source admitted: 'He kept Derry clean for us.' Gilmour's career as an agent came to an abrupt and spectacular end when he uncovered one of the IRAs most prized arms caches, forcing him and his family — who until then had known nothing of his double life. — to go on the run before the IRA's notorious Internal Affairs men caught up with them. But even escape has its penalties: Gilmour has not seen his wife and children for over twelve years, and he now lives in permanent exile, flitting from safe house to safe house under a sentence of death unrevoked by peace-tAs amnesties. Dead Ground is Gilmour's story: a narrative of heart-stopping tension and unrelenting human drama which makes a mockery of fictionalised accounts of terrorism in Northern Ireland.

    Feel Free, his fourth collection, effortlessly spans the Atlantic, combining the acoustic expansiveness of Whitman or Ashbery with the lyricism of Laird's forebears Heaney, MacNeice and Yeats. With characteristic variety, invention and wit (here are elegies, monologues, formal poems and free verse) the poet explores the sundry patterns of freedom and constraint - the family, the impress of history, the body itself - and how we might transcend them.Feel Free is always daring, always renewing, and Laird's most remarkable work to date.

    It’s a book with the flow of poetry but the ebb of short stories – rightfully called “Shoetry”. This creation takes you to the roots of humanity - stripping back the veneers of life, society and interaction to see people and their ways in an entirely new light.

    The inaugural winner of the annual American Poetry Review/Honickman First Book Award.

    They need to find their friends a safe place to hide out - somewhere that dangerous horse thieves will never find. But where?These timeless stories are perfect for young fans of mystery, adventure or detective series.

    Completely indifferent, he leaves his mother to invite all the most suitable candidates to a house party at Winsdale Park, promising to choose one of them as his duchess. Returning home after several days of pre-nuptial carousing, Eli falls from his horse and badly injures his head. His life is saved by a mysterious woman who fascinates and enthrals Eli.Athena Defoe and her young twin sisters are hiding from their past in a tumbledown cottage on Eli’s estate. Athena refuses to place her trust in Eli, but he is equally determined to repay her by protecting her. To do so he must first discover what or whom she is so afraid of. With attention focused on her by the duke’s interest, Athena’s whereabouts becomes known and danger visits her quiet corner of Hampshire.Caught up in the whirl of his mother’s entertainments, Eli must race against time to save the woman he’s fallen in love with, even if she isn’t duchess material…

    After being kicked out of a Catholic orphanage when it is discovered that he is of Jewish descent, a confused and deeply distraught Frankie turns to a life of crime, the only life he knows, and he’s good at it. Frankie quickly makes a name for himself and becomes one of New York’s most dangerous men, ruling the city with an iron fist and indulging in his passion for sex, power and the best things life has to offer—regardless of whether they’re for sale.In Stiletto, Cesare Cardinale is an amoral, aristocratic Italian playboy—an entrepreneur and race car driver who wants for nothing—whether it’s fast cars, beautiful women, or orgies of debauchery. Cesare, however, has two dirty secrets: First, he has a penchant for violence that borders on the sadistic and sociopathic; second, he owes his extravagant life to a Sicilian Mafia don, creating a seemingly perfect relationship—as he leads a double life as a Mafia assassin.“Robbins’s books are packed with action, sustained by strong narrative drive, and are given vitality by his own colorful life.” —The Wall Street JournalThe Harold Robbins Organized Crime Double includes: Never Love A Stranger and Stiletto.

    Brandy is a gold digger with a capital G! She doesn’t care whose man she sleeps with or goes after. Money was good and business was great until she decides to plot and scheme to set up the wrong person. Tip becomes pregnant, but by who? Her long time boyfriend or the Jamaican man who used to pimp her? Tracy is a good girl gone bad. She is head over heels in love with her first love. She doesn't know about his other life until its too late. Diamond is in love with her high school sweetheart and their relationship is great until she falls for someone else. When Brandy’s diary is found what will happen to their friendship? Will there friendship be able to stand through all the trials and tribulations life throws at them?

    In these poems about the death of his mother, this moving, otherworldly narrative takes us through the levels of Super Mario World, whose flowered landscapes bleed into our world, and ours, strange with loss, bleed into it. His remarkable debut is a daring exploration of memory, grief and the necessity of the unreal.

    A journey of the mind - as well as out at sea, amid the basking sharks, seals, fulmars and waves the size of wardrobes. And while storms rage, Jasper seeks refuge in bars, playing guitar and talking, as only the Irish can, with everyone along the way. All of which makes for a unique inside view of the new and old Ireland, from a man never quite sure if he'll come through the next day in one piece.

    Pat Monaghan has studied and taught many integrated studies in poetry, science, mythology, feminist spirituality, environmental studies, chaos theory, and religion. All of these disciplines inform her writing, but none distract from the poetic story-telling or the mystical lore she encounters and then conveys. Her journey takes her to a churchyard with a fountain representing St. Bridget, perhaps a Christian representation of the Celtic goddess of water, fire, and transformation, called Brigit. Monaghan describes spiral petroglyphs and ancient sacred caves, bogs and woods where fairies have played their tricks on humans, and water falls that became sacred spots. The stories instruct and teach, as Monaghan points to ways that these myths still reveal the truths of human life, and the contradictions of love and hate, mother and seductress, harmony and struggle that are embodied in women’s lives — in all of human existence.

    In an essay on his career, Edward Hirsch describes They Feed They Lion as his "most eloquent book of industrial Detroit . . . The magisterial title poem--with its fierce diction and driving rhythms--is Levine's hymn to communal rage, to acting in unison." Of The Names of the Lost: "In these poems Levine explicitly links the people of his childhood whom 'no one remembers' with his doomed heroes from the Spanish Civil War."

    104 pages of gossiping, loving and pestering of the British upper class, accompanied by illustrations, will definitely not disappoint.

    It tells the story of how Orbis Rex, Young Matt and his Circle of Friends, Queen Dido and the blind Dom'nic did battle with 'a wet and withered bat' from Wuhan.

    The resonance of this image grows through each section of the book as Hahn skillfully employs theme and variation, counterpoint and mirroring techniques. The ibis first appears as part of an illusion, the disappearing object in a magician’s trick, which then evokes the greatest disappearing act of all—death—where there are no tricks to bring about a reappearance. The rich complexity multiplies as the second section focuses on a disappearing lady and a dramatic final section brings together the bird and the lady in their common plight—both caged by their mortality, their assigned time and role.  All of the illusions fall away during this brilliant denouement as the two voices share a dialogue on the power of metaphor as the very essence of poetry. bird trick iv It’s all about disappearance. About a bird in a cagewith a mirror, a simple twiston the handle at the sidethat makes it come and go at the magician’s insistence. It’s all about innocence.It’s all about acceptance.It’s all about compliance.It’s all about deference.It’s all about silence. It’s all about disappearance.