Emma is a must-read for fans of Patricia Scanlan and Cathy Kelly. 'A writer who understands exactly how women think' Cathy Kelly Tess can't quite believe her luck - she's marrying Marco, the man of her dreams, in an exquisite traditional Italian wedding, surrounded by her adoring family. But when an ex puts in an unexpected appearance in Rome, Tess is instantly taken back to glorious Huntersbrook House and the warmth and joy of the Craig family. Memories she thought she had long-buried and left behind in Ireland suddenly resurface at the worst possible moment. Forced to face both her past and future on the evening of the rehearsal dinner, Tess is thrown into turmoil. Which man - and moment - will win out? From Rome to the Irish seaside town of Caracove Bay... Don't miss Emma's sublime novel The Summer Guest.

    The author discusses, regret, anxiousness, racial issues, craving for love, and much more. Tavon gets deeply personal and introspective, in hopes of helping those who are in need of self-healing too. "Entrapped inside your Heart-shaped box For lonely years You’ve left me here To survive off hope and tears I know your return is unlikely Unlike me, You have a gift Of hurting others with a smile Luring your victims Into the traps of your eyes I enjoy this place Although it’s often cold It has pockets of warmth In your Heart-Shaped Box I’ll forever be stored Waiting for you Love me more Than August loves to storm."

    This is the ultimate history of Irish rugby - told, definitively, by the men who have been there and done it.

    But then she is told that there was a woman in the car with him, a woman identified as his wife Amelia.Devastated, she flies to Dublin to try to make sense of Jack's secret life. As she grieves, she must learn to survive, and to do that she must find the truth. What else has he been keeping from her and how will she survive this betrayal...? A compelling and emotional novel of families and the secrets we keep... Praise for Ann's writing:'The Ludlow Ladies' Society brought me to a beautiful place and into a circle of friends that I didn't want to leave. Unputdownable' KATE KERRIGAN 'It's a heart-warming story ... but also an addictive page-turner with plenty of unexpected twists and reveals in store' READER'S DIGEST'A moving tale of loss, love and redemption' BELLA MAGAZINE'Deftly written, moving and courageous' THE SUNDAY TIMES'Slow-marching, romantic prose draws us into an old world that is rustic, genteel, quaint...[but] scandals lie in wait' IRISH INDEPENDENT'Highly engaging debut you will want to dive into' SUNDAY INDEPENDENT, IRELAND'A lovely story of two women with the courage to confront the injustices of the past, bringing light to a dark corner of Ireland s recent history' KATHLEEN MACMAHON, BESTSELLING AUTHOR OF THIS IS HOW IT ENDS

    

    It was the first of fifteen dismembered body parts belonging to retired hospital worker Patricia O'Connor.Kieran Greene, the father of three of Patricia's grandchildren, later handed himself in, confessing to beating her to death in the home they shared in what he said was an act of self-defense. He also confessed to dismembering her and disposing of her remains but later changed his story, implicating several members of Patricia's household, including her husband and daughter.In this nuanced and meticulous account of a deeply disturbing crime, journalist Frank Greaney, who covered every day of the shocking trial and conducted exclusive follow-up interviews with other members of Patricia's family, uncovers the story behind the gruesome murder of Patricia O'Connor, and looks at who Patricia really was.

    Best of all, he's packed us in his suitcase. He represents an ever-changing population of those raised elsewhere who find themselves beckoned by the history, mystique, and magic-makers of New York City. These poems inhabit their own contradictions, and exquisitely navigate the many complicated sides of what it means to be alive. About The Author: Jon Sands has been a professional teaching and performing artist since 2007. He's a recipient of the 2009 NYC-LouderARTS fellowship grant, and has represented New York City multiple times at the National Poetry Slam. He is the Director of Poetry and Arts Education Programming at the Positive Health Project, as well as a Youth Mentor with Urban Word-NYC. His work has appeared in decomP magazine, The Millions, Suss, The Literary Bohemian, Danse Macabre, The November 3rd Club, and others. He lives in New York City, where he makes better tuna salad than anyone you know.

    In formally ambitious poems and lyric essays, Sun in Days gives voice to the experience of illness, the permanence of loss, and invigorating moments of grace. Wresting a recuperative beauty from one’s days, O’Rourke traces an arc from loss and illness to the life force of pregnancy and motherhood. Along the way, she investigates a newfound existential awareness of all that vanishes. This is O’Rourke’s most ambitious book to date: unsentimental yet deeply felt, and characterized by the lyric precision and force of observation for which her work is known.From “Idiopathic Illness”What can be said? I came w/o a warranty,Stripped of me—or me-ish-ness—I was a will in a subpar body.I waxed toward all that waned inside.

    

    My twelve-year-old daughter frequently moans that Ballycarrick is the most boring town in Ireland.Nothing ever happens here.She’s right.And as the local police sergeant, this is something I’m delighted about.I’ve enough to worry about - the polar ice-caps, the evil monster that’s shrinking my trousers, not to mention the hot flushes - without having to be like one of those gritty Netflix cops, chasing criminals down alleyways and busting drug deals.So, life is calm and fairly predictable.Until something unthinkable happens in our sleepy backwater.A crime, but not like anything I've ever seen before.It's a complete mystery.And it's up to me to solve it.

    The book and the dream are the poet’s primary objects of investigation here. Through deft, quietly authoritative lyrics, Fisher meditates on the problems and possibilities—the frail craft—of perception for the reader, the dreamer, maintaining that “if the eye can love—and it can, it does—then I held you and was held.” In her foreword to the book, Louise Glück writes that Fisher’s poetry is “haunting, elusive, luminous, its greatest mystery how plain-spoken it is. Sensory impressions, which usually serve as emblems of or connections to emotion, seem suddenly in this work a language of mind, their function neither metonymic nor dramatic. They are like the dye with which a scientist injects his specimen, to track some response or behavior. Fisher uses the sense this way, to observe how being is converted into thinking.”

    This book is about the girls whose lives were ruined by me. I want to write about my story, for it’s the only way to be immortal. I want you to feel the pleasure of falling in love. The lust, the passion, the desire, and the craving that turns into an unhealthy addiction. And I want you also to feel the pain of losing someone, the ache, the agony, the bitterness, and the grief that cripples your soul forever. This is for everyone. The forgotten souls buried under the melancholy of the past. Yes, I will show you how much you hurt me, I will write. This is what my heart holds for you; half pleasure, half pain.

    However there comes a time in every writer’s life when the need to have one’s work appreciated by others overcomes the reticence of their nature. With this book, I have reached the point where I can let you, the reader, enter. See me. Maybe some of the poems here will resonate with you, and that understanding, that secret “yes, I know what she means”, from a stranger, is what I seek.

    Predator, the debut collection by Michael Robbins, became one of the hottest and most celebrated works of poetry in the country, winning acclaim for its startling freshness and originality, and leading critics to say that it was the most likely book in years to open up poetry to a new readership.   Robbins’s poems are strange, wonderful, wild, and irrationally exuberant, mashing up high and low culture with “a sky-blue originality of utterance” (The New York Times). The thirty-six new poems in The Second Sex carry over the music, attitude, hilarity, and vulgarity of Alien vs. Predator, while also working deeper autobiographical and political veins.