All eighty-four men aboard died. February is the story of Helen O'Mara, one of those left behind when her husband, Cal, drowns on the rig. It begins in the present-day, more than twenty-five years later, but spirals back again and again to the "February" that persists in Helen's mind and heart.Writing at the peak of her form, her steadfast refusal to sentimentalize coupled with an almost shocking ability to render the precise details of her characters' physical and emotional worlds, Lisa Moore gives us her strongest work yet. Here is a novel about complex love and cauterizing grief, about past and present and how memory knits them together, about a fiercely close community and its universal struggles, and finally about our need to imagine a future, no matter how fragile, before we truly come home. This is a profound, gorgeous, heart-stopping work from one of our best writers.

    Overseas, war is raging in Vietnam, Civil Rights marches are on the streets, and women’s liberation is stirring – but at home in Corrigan Charlie Bucktin dreams of writing the Great Australian Novel. Charlie’s 14 and smart. But when 16-year-old, constantly-in-trouble Jasper Jones appears at his window one night, Charlie’s out of his depth. Jasper has stumbled upon a terrible crime in the scrub nearby, and he knows he’s the first suspect – that goes with the colour of his skin. He needs every ounce of Charlie’s bookish brain to help solve this awful mystery before the town turns on Jasper. Kate Mulvany’s adaptation of Craig Silvey’s award-winning novel is wise and beautiful. A coming-of-age story, Jasper Jones interweaves the lives of complex individuals all struggling to find happiness among the buried secrets of a small rural community.Whether you know the book or not, this piercing adaptation is very much worth seeing for the way it depicts – and shows ways across – some of the deep and enduring divides in our society." - Jason Blake SMH

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    Maria teaches him how to make fast money by just flipping a few numbers. EJ quickly goes from a regular joe to a man of power. But he's forced to learn the hard way that with more money comes more problems and with more problem EJ is forced to keep flipping numbers.Step into EJ's world where money rules and one bad flip can end your life.

    And what better way than to rob a Manhattan Company bank? Enter Bob Temple, the volatile outlaw who takes Francis under his wing— though not without a degree of suspicion— and so begins the adventures of the Blackstone Temple Gang as they crisscross the west in search of treasure, redemption, and the possibility of requited love.After an encounter with a rival gang, Francis and Bob Temple are chased over the Sierras to California, where they enjoy unexpected fame as gentleman bandits. But their newfound celebrity brings hardships as well, and when their final job takes a startling turn, Francis is forced to discover what it means to make peace with a world that stands against him.At once a tribute to boyhood enthusiasm and the heroes of classical quests, Like Rum-Drunk Angels is an offbeat, slightly magical, entirely original retelling of Aladdin as an American western.

    All she knows is that she's being hunted. When she stumbles, bloody and beaten, onto Abram Yoder's Lancaster County farm, she is not only given a chance at safety, but also the possibility of love. Will the ghosts of Sofia's past keep her from seizing a new future? Abram Yoder is a man trapped in the past. His wife Rebekah died in childbirth two years back, and even through prayer, he hasn't been able to absolve his grief and allow himself to live. When a mysterious woman comes to his Lancaster farm needing help, will Abram find the faith to love again? Join Sofia and Abram as they confront the past, embrace the future and with God's help, bridge the gap between their two worlds and maybe even find love in Book 4 of the 10 Part Out of Darkness serial. If You Love Amish Fiction, Scroll up and Grab a Copy Today!

    This play by one of India's foremost playwrights and actors is based on a story from the Mahabharata which tellingly illuminates universal themes - alienation, loneliness, love, family, hatred - through the daily lives and concerns of a whole community of individuals.

    Church, marriage to a steady young man, children - her fortunes are already laid out for her, as are the shiny modern appliances in her new home. All she has to do is stay with Roy, who loves her. But as the decades unfold, what seems to be a safe, predictable existence overwhelms Hope. Where - among the demands of her children, the expectations of her husband and the challenges of her best friend, Emily, who has just read The Feminine Mystique - is there room for her? And just who is she anyway? A wife, a mother, a woman whose life is somehow unrealized?This beautifully crafted and perceptive work of fiction spans some fifty years of Hope Koop's life in the second half of the 20th century, from traditionalism to feminism and beyond. David Bergen has created an indelible portrait of a seemingly ordinary woman who struggles to accept herself as she is, and in so doing becomes unique.

    With Steffy, his sometime paramour, at his side, Herb decides to take another stab at fatherhood and hopefully this time, get it right.

    As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times

    Abandoned as an infant, Marcel is haunted by vague memories of his bohemian mother, and is desperate to know who his real parents are. When Oliver is promoted to foreign correspondent, he leaves Marcel in the care of his ill-equipped friends, including the beautiful Pippa. The world is being swept by a wave of liberation—coups, revolutions and the end of colonialism. While Oliver rushes toward the action, Marcel is set adrift in swinging London, a city of magic—and a city where he can never quite fit in. Just when it seems they will never be reunited, Marcel is sent to join Oliver in Vietnam. But by the summer of 1963, the war is escalating, and Oliver is finally overwhelmed by his doomed love for Pippa. When Marcel eventually uncovers the shattering truth about his mother, his entire world is rearranged. Now, as his fiftieth birthday approaches, Marcel is asked to take care of his friend’s eleven-year-old daughter, Iris. Prodded by her sharp-eyed company, he reflects on his own bittersweet childhood and the experiences that have shaped his present. Stray Love is beautifully illustrated with original drawings by noted Toronto artist/filmmaker Heather Frise.

    Standing by the edge of Halifax Harbour on a foggy morning, contemplating his dismal future, his ritual of self-pity is interrupted with the appearance of the mysterious and beguiling Ramona Danforth. And so begins a most interesting relationship.On a whim, Charles asks Ramona to drive him to his childhood home, Stewart Harbour, a fishing village populated by rugged individualists far down Nova Scotia’s remote Eastern Shore. Charles left the Harbour immediately after graduating from high school and never looked back. And now that he's returned, the past starts catching up with him in ways he could never have imagined.

    But when one of the guests is stabbed to death, the festivities in this isolated house of tricks and mirrors quickly turn dangerous. Then it's up to Gillette himself, as he assumes the persona of his beloved Holmes, to track down the killer before the next victim appears. The danger

    Believe me. I don't know what's happened, but something has. He's changed. He . . . And I'm wondering if . . . To be absolutely honest with you . . . I'm even wondering if . . . Nicolas, just two years ago a smiling boy, is going through a difficult phase after his parents' divorce. He's listless, skipping classes, lying. He believes moving in with his father and his new family may help. And a different school, a fresh start. When he doesn't feel comfortable there, when he senses he isn't wanted, he decides that going back to his mother's may be the answer. But at some point, options are going to dry up. And then what?I'm telling you. I don't understand what's happening to me. Florian Zeller's The Son forms the final part in a trilogy with The Mother and The Father, all of which are translated by Christopher Hampton. The Son premieres at the Kiln Theatre, London, in February 2019.

    Predictably, and almost immediately, his name retreated to the footnotes of history. And yet, as Wayne Johnston makes plain in his epic and affectionate fifth novel, The Colony of Unrequited Dreams, Smallwood's life was endearingly emblematic, an instance of an extraordinary man emerging at a propitious moment. The particular charm of Johnston's book, however, lies not merely in unveiling a career that so seamlessly coincided with the burgeoning self-consciousness of Newfoundland itself, but in exposing a simple truth--namely, that history is no more than the accretion of lived lives. Born into debilitating poverty, Smallwood is sustained by a bottomless faith in his own industry. His unabashed ambition is to "rise not from rags to riches, but from obscurity to world renown." To this end, he undertakes tasks both sublime and baffling--walking 700 miles along a Newfoundland railroad line in a self-martyring union drive; narrating a homespun radio spot; and endlessly irritating and ingratiating himself with the Newfoundland political machine. His opaque and constant incitement is an unconsummated love for his childhood friend, Sheilagh Fielding. Headstrong and dissolute, she weaves in and out of Smallwood's life like a salaried goad, alternately frustrating and illuminating his ambitions. Smallwood is harried as well by Newfoundland's subtle gravity, a sense that he can never escape the tug of his native land, since his only certainty is the island itself--that "massive assertion of land, sea's end, the outer limit of all the water in the world, a great, looming, sky-obliterating chunk of rock." The Colony of Unrequited Dreams bogs down after a time in its detailing of Smallwood's many political intrigues and in the lingering matter of a mysterious letter supposedly written by Fielding. However, when he speculates on the secret motives of his peers, or when he reveals his own hyperbolic fantasies and grandiose hopes--matters no one would ever confess aloud--the novel is both apt and amiable. Best of all is to watch Smallwood's inevitable progress toward a practical cynicism. It seems nothing less than miraculous that his countless disappointments pave the way for his ascension, that his private travails ultimately align with the land he loves. This is history resuscitated. --Ben Guterson