Here, and in the towns beyond, the young live hard and wear the scars. Amongst them, there’s jilted Jimmy, whose best friend Tug is the terror of the town and Jimmy’s sole company in his search for the missing Clancy kid; Bat, a lovesick soul with a face like “a bowl of mashed up spuds” even before Nubbin Tansey’s boot kicked it in; and Arm, a young and desperate criminal whose destiny is shaped when he and his partner, Dympna, fail to carry out a job. In each story, a local voice delineates the grittiness of Irish society; unforgettable characters whose psychological complexities and unspoken yearnings are rendered through silence, humor, and violence.With power and originality akin to Wells Tower’s Everything Ravaged, Everything Burned and Claire Vaye Watkins’ Battleborn these six short stories and one explosive novella occupy the ghostly, melancholic spaces between boyhood and old age. Told in Barrett’s vibrant, distinctive prose, Young Skins is an accomplished and irreverent debut from a brilliant new writer.

    By the end of the night, the parish priest, Father Leo Galvin, is dead.The lives of four teenagers - Tom, Conor, Tess and Nina - who had been drinking beer and smoking in a shed at the back of the house, will never be the same. But one of them carries a secret from that night that he has never shared. The friends go on to lead very different, separate lives - some quiet, others in the media spotlight - but the four remain connected by what happened during the time of the big snow.As the thirty-fifth anniversary of Father Galvin's murder approaches, Conor, now a senior police officer, becomes obsessed with the crime his father failed to solve. He believes that Tom can help identify Father Galvin's killer. But does Tom wish to break his silence? His dilemma draws the four friends back together, forcing them to question their lives and to confront their differences. But only Tom can decide whether Kilmitten's secret will finally be revealed.

    But his fiancée is strangely altered and her family's fortunes have suffered a spectacular decline. The hotel's hundreds of rooms are disintegrating on a grand scale; its few remaining guests thrive on rumors and games of whist; herds of cats have taken over the Imperial Bar and the upper stories; bamboo shoots threaten the foundations; and piglets frolic in the squash court. Meanwhile, the Major is captivated by the beautiful and bitter Sarah Devlin. As housekeeping disasters force him from room to room, outside the order of the British Empire also totters: there is unrest in the East, and in Ireland itself the mounting violence of "the troubles." Troubles is a hilarious and heartbreaking work by a modern master of the historical novel.

    “With its tale of provincial life, gimlet-eyed spinsters, and thwarted love…it feels almost like a Miss Marple mystery written by Colm Tóibín” (New York Times).The remote Irish village of Duneen has known little drama, and yet its inhabitants are troubled: Sergeant P.J. Collins hasn’t always been this overweight; Brid Riordan, a mother of two, hasn’t always been an alcoholic; and elegant Evelyn Ross hasn’t always felt that her life was a total waste.So when human remains—suspected to be those of Tommy Burke, a former lover of both Brid and Evelyn—are discovered on an old farm, the village’s dark past begins to unravel. As a frustrated P.J. struggles to solve a genuine case for the first time in his professional life, he unearths a community’s worth of anger and resentments, secrets and regrets.Darkly comic, at times profoundly sad, and “especially inviting because of its tongue-in-cheek wit” (Kirkus Reviews), Holding is a masterful debut. Graham Norton employs his acerbic humor to breathe life into a host of lovable characters, and explore—with searing honesty—the complexities and contradictions that make us human.

    Crazily enough, it's also packed with truth.”—NPR“The voice of this third book from Bibbins is marked and numbed by the onslaught of American media and politics that saturate the Internet, television, radio, and smartphone: ‘the way things are going, children/ will have to upgrade to more amusing.’ Much like advertisements or news stories vying for viewer’s attention, the book intentionally overwhelms, eschewing sections; the author instead differentiates the poems by repetition, creating a sort of echo chamber, similar to the way viral information cycles through social media platforms.”—Publishers Weekly, starred review"[A] hilarious send-up of contemporary values and an alarm bell of sorts, directing attention to all that is so sinister in our civilization.”—American Poets"Whip-smart and wickedly funny, They Don't Kill You is Bibbins's most authoritative and self-possessed collection to date."—Boston ReviewThe poems in Mark Bibbins's breakthrough third book are formally innovative and socially alert. Roving across the weird human landscape of modern politics, media-exacerbated absurdity, and questionable social conventions, this collection counters dread with wit, chaos with clarity, and reminds us that suffering is "small//compared to what?"Mark Bibbins teaches in the graduate writing programs at The New School and Columbia University, and edits the poetry section of The Awl. He lives in New York City.

    Alan Titley’s vigorous new translation, full of the brio and guts of Ó Cadhain’s original, at last brings the pleasures of this great satiric novel to the far wider audience it deserves.   In The Dirty Dust all characters lie dead in their graves. This, however, does not impair their banter or their appetite for news of aboveground happenings from the recently arrived. Told entirely in dialogue, Ó Cadhain’s daring novel listens in on the gossip, rumors, backbiting, complaining, and obsessing of the local community. In the afterlife, it seems, the same old life goes on beneath the sod. Only nothing can be done about it—apart from talk. In this merciless yet comical portrayal of a closely bound community, Ó Cadhain remains keenly attuned to the absurdity of human behavior, the lilt of Irish gab, and the nasty, deceptive magic of human connection.

    An ordinary Saturday in the Blue Bar of the International Hotel in Belfast. While 18-year-old Danny pulls pints, he contemplates his future and the bar's varied clientele. But ordinary Saturdays like this are almost over. On the next day the hotel will host the inaugural meeting of the Northern Ireland Civil Rights Association, and the slide towards the troubles will begin.

    "Love in the Tall Grass" takes Cordelia down a coastal road on the last day of the twentieth century to keep a date with her lover that has been nine years in the waiting. "Stay Close to the Water's Edge" tells of a young Harvard student who is pitilessly humiliated by his homophobic stepfather on his birthday. Keegan's writing has a clear vision of unaffected truths and boldly explores a world where dreams, memory, and chance have crippling consequences for those involved. The stories are often dark and enveloped in a palpable atmosphere, and the reader feels that something "big" is going on in each of these carefully sculpted tales. The award-winning Antarctica, a Los Angeles Times Best Book of 2001, and recipient of the prestigious Rooney Prize for Irish Literature, the William Trevor Prize, and the Martin Healy Award, is a haunting debut. "These stories are diamonds." -- Emily Robichaud, Esquire "That Keegan has a knack for storytelling is proved many times over...." -- Caitlin Macy, The New York Times Book Review "[These] stories ... show Keegan to be an authentic talent with a gimlet eye and a distinctive voice." -- Amanda Heller, The Boston Globe "Reading these stories is like coming upon work of Ann Beattie or Raymond Carver at the start of their careers." -- Jerry Griswold, Los Angeles Times

    . . an oeuvre disclosing significant shifts and evolutions. But Muldoon, more than most, is an artist in high flight from self-repetition and the deadening business of living up to created expectations." The body of work in Poems 1968-1998 -- a comprehensive gathering of Paul Muldoon's eight volumes -- finds a great poet reinventing himself at every turn. Muldoon's career thus far shows us a fascinatingly mutable climate in which each freshening period brings -- as his first collection was predictively titled -- new weather."

    This book, which won raves at its first publication, shows all the hallmarks of the writer who became the award-winning film director so well known today.

    Every night, on the point of losing his mind, he drowns their screams in drink. His solution is to kill those who engineered their deaths.From the greedy politicians to the corrupt security forces, the street thugs to the complacent bystanders who let it happen, all are called to account. But when Fegan's vendetta threatens to derail a hard-won truce and destabilise the government, old comrades and enemies alike want him dead.Winner of the Los Angeles Times Book Prize for Best Thriller.

    Gibson. The pages explore hurt, healing, love, forgiveness, self-discovery and the journey towards becoming a woman. Written in four chapters each piece encourages healing and the journeying of self.

    When they are thrown together in a Dublin brothel in a horrific twist of fate, a peculiar and important bond is formed . . .This is a novel about a flourishing but hidden world, thinly concealed beneath a veneer of normality. It’s about the failings of polite society, the cruelty that can exist in apparently homely surroundings, the bluster of youth and the often appalling weakness of adults.Harvesting is heartbreaking and funny, gritty, raw and breathtakingly beautiful, where redemption is found in friendship and unexpected acts of kindness.Harvesting was inspired by Harding’s involvement with a campaign against sex trafficking run by the Children’s Rights Alliance. Although it is a fictionalised account, the text has been read and approved of by representatives for NGOs in both Moldova and Dublin.

    He plans to write a memoir about his great love affair with Clement Makin, his mentor both professionally and personally, and to amuse himself with Lizzie, an actress he has strung along for many years. None of his plans work out, and his memoir evolves into a riveting chronicle of the strange events and unexpected visitors--some real, some spectral--that disrupt his world and shake his oversized ego to its very core.In exposing the jumble of motivations that drive Arrowby and the other characters, Iris Murdoch lays bare "the truth of untruth"--the human vanity, jealousy, and lack of compassion behind the disguises they present to the world. Played out against a vividly rendered landscape and filled with allusions to myth and magic, Charles's confrontation with the tidal rips of love and forgiveness is one of Murdoch's most moving and powerful novels.

    In his new book, Touch, written with an almost invisible but ever-present art, he continues to render his human topics—a mother’s death, a lover’s addiction, war—with a startling clarity. Cole’s new poems are impelled by a dark knowledge of the body—both its pleasures and its discontents—and they are written with an aesthetic asceticism in the service of truth. Alternating between innocence and violent self-condemnation, between the erotic and the elegiac, and between thought and emotion, these poems represent a kind of mid-life selving that chooses life. With his simultaneous impulses to privacy and to connection, Cole neutralizes pain with understatement, masterful cadences, precise descriptions of the external world, and a formal dexterity rarely found in contemporary American poetry.   Touch is a Publishers Weekly Best Poetry Books title for 2011.