She crafts beautiful, handmade wooden dolls in her workshop in a sleepy seaside town. Every doll is special. Every doll has a name. And every doll has a hidden meaning, from a past Mona has never accepted.Each new doll takes Mona back to a different time entirely - back to Birmingham, in 1972. Back to the thrill of being a young Irish girl in a big city, with a new job and a room of her own in a busy boarding house. Back to her first night out in town, where she meets William, a gentle Irish boy with an easy smile and an open face. Back to their whirlwind marriage, and unexpected pregnancy. And finally, to the tragedy that tore them apart.

    This colourful story focuses on the relationship between the girls as they grow into women and their attempt to escape their impoverished background.The story is alternatively narrated by the eloquent Fag and the sensitive Ginnie, as well sections told by an historian and industrial psychologist.

    April's spoilt-brat behaviour had never won her many friends, and her fast exit from town the night of her seventeenth birthday left more questions than answers. So it isn't too surprising that people get a kick out of seeing Daddy's little princess reduced to earning her keep as a kiss-o-gram girl in a red rubber dress. It seems everyone has a bone to pick with April, especially Tarn Elliott, whose reputation she unfairly ruined. Tarn has a score to settle. April has secrets she doesn't want to share. Can the good people of Pisa, and Tarn Elliott in particular, see beyond the petite wee blonde's wisecracks to the real April underneath?

    Margot, who plays the chimp’s lawyer, knows the production is dreadful and bemoans the failure of her acting career. She’s settled into the drudgery of playing a humiliating part—until the day she receives a mysterious letter from an anonymous admirer . . . and later, in the middle of a performance, has a shocking encounter with Adam, the twelve-year-old who plays the title role.Francine Prose’s effervescent comedy is told from the viewpoints of wildly unreliable, seemingly disparate characters whose lives become deeply connected as the madcap narrative unfolds. There is Adam, whose looming adolescence informs his interpretation of his role; Edward, a young audience member who is candidly unimpressed with the play; Ray, the author of the novel on which the musical is based, who witnesses one of the most awkward first dates in literature; and even the eponymous Mister Monkey, the Monkey God himself.With her trademark wit and verve, Prose delves into humanity’s most profound mysteries: art, ambition, childhood, aging, and love. Startling and captivating, Mister Monkey is a breathtaking novel from a writer at the height of her craft.

    In the spring of 1903 a ship explodes as it docks on the island, drowning many of the passengers and crew in the icy waters of Stolnsay harbour. Young, strawberry-blond-haired Billie Paxton is among the only survivors. Clumsy, illiterate and suddenly alone, Billie will not say why, before the explosion, she jumped from ship to shore, and so falls under the immediate suspicion of her fellow passenger, Murdo Hesketh and his cousin and employer, Lord Hallowhulme, who owns the island - and has controversial plans for improving the lives of its inhabitants. Gloriously inventive and vividly atmospheric, Billie's Kiss conjures up a way of life hurtling towards a brave new world, in an enchanting novel that combines a strange, sexy love story with an Edwardian mystery, bringing together murder and eugenics, progress, prejudice and the loss of innocence.

    The lonely days become weeks, months. Her husband Hugh, a prison doctor, will offer no explanation for their sexless marriage. She comes to suspect the answer lies with a hunger-striking suffragette who was force fed and held in solitary confinement. But what really happened between Hugh and his prisoner patient?A Petrol Scented Spring is a riveting novel of repression, jealousy and love, and the struggle for women’s emancipation.

    

    It was also the first to introduce a full democracy. Between those events, and in the century that followed the franchise, the movements and the conflicts of human history have been played out more intensively and more rapidly in New Zealand than anywhere else on Earth. This title tells that story in all its colour and drama. The narrative that emerges is an inclusive one about men and women, Maori and Pakeha. It shows that British motives in colonizing New Zealand were essentially humane; and that Maori, far from being passive victims of a "fatal impact", coped heroically with colonization and survived by selectively accepting and adapting what Western technology and culture had to offer. The latter part of the book reveals how an insulated and dependent British colony transformed itself into an independent nation, open to and competing with technological and cultural influences sweeping the globe.

    Until now.Part memoir, part essay collection, Megan Dunn’s ingenious, moving, hilariously personal Things I Learned at Art School tells the story of her early life and coming-of-age in New Zealand in the ‘70s, ‘80s and ‘90s.From her single mother's love life to her Smurf collection, from the mean girls at school to the mermaid movie Splash, from her work in strip clubs and massage parlours (and one steak restaurant) to the art school of the title, this is a dazzling, killer read from a contemporary voice of comic brilliance.Chapters include (but are not limited to): The Ballad of Western Barbie; A Comprehensive List of All the Girls Who Teased Me at Western Heights High School, What They Looked Like and Why They Did It; On Being a Redhead; Life Begins at Forty: That Time My Uncle Killed Himself; Good Girls Write Memoirs, Bad Girls Don’t Have Time; Videos I Watched with My Father; Things I Learned at Art School; CV of a Fat Waitress; Nine Months in a Massage Parlour Called Belle de Jour; Various Uses for a Low Self-esteem; Art in the Waiting Room and Submerging Artist.

    One lay dead from a single bullet to the head. The other was the only survivor: David Bain. Since then, the country has asked: Who killed the Bain family? David, or his father Robin? And why?Award-winning journalist Martin van Beynen has covered the Bain story closely for decades. His 2017 Stuff podcast, Black Hands - based on the manuscript for this book - topped the charts in New Zealand and around the world and has been downloaded more than 5 million times. Now, his book brings the story completely up to date: exploring the case from start to finish, picking through evidence old and new, plumbing the mysteries and motives, interviewing never-before-spoken-to witnesses andguiding readers through the complex police investigation and court cases, seeking to finally answer the question: Who was the killer?Black Hands is a riveting read from the first word to the last, by a skilled writer who knows his subject inside out.“If anyone can pass judgement it can only be those who sat through the whole trial.” - David Bain in New Idea

    A group of friends and friends-of-friends gathers in a country house to wait out the pandemic. Over the next six months new friendships and romances will take hold, while old betrayals will emerge, forcing each character to reevaulate whom they love and what matters most. The unlikely cast of characters include: a Russian-born novelist; his Russian-born psychiatrist wife; their precocious child obsessed with K-pop; a struggling Indian American writer; a wildly successful Korean American app developer; a global dandy with three passports; a young flame-thrower of an essayist, originally from the Carolinas; and a movie star, The Actor, whose arrival upsets the equilibrium of this chosen family. In a remarkable literary feat, Gary Shteyngart has documented through fiction the emotional toll of our recent times: a story of love and friendship that reads like a great Russian novel set in upstate New York. Both elegiac and very, very funny, Our Country Friends is the most ambitious book yet by the author of the beloved bestseller, Super Sad True Love Story.

    Glaciers follows Isabel through a day in her life in which work with damaged books in the basement of a library, unrequited love for the former soldier who fixes her computer, and dreams of the perfect vintage dress move over a backdrop of deteriorating urban architecture and the imminent loss of the glaciers she knew as a young girl in Alaska.Glaciers unfolds internally, the action shaped by Isabel’s sense of history, memory, and place, recalling the work of writers such as Jean Rhys, Marguerite Duras, and Virginia Woolf. For Isabel, the fleeting moments of one day can reveal an entire life. While she contemplates loss and the intricate fissures it creates in our lives, she accumulates the stories—the remnants—of those around her and she begins to tell her own story.

    Winner of Britain's James Tait Black Memorial Prize and the 1999 IMPAC Award. "Astoundingly good" (New York Times Book Review).

    When news spreads of a high school teacher's relationship with his underage student, participants and observers alike soon take part in an elaborate show of concern and dismay. But beneath the surface of the teenage girls' display, there simmers a new awareness of their own power. They obsessively examine the details of the affair with the curiosity, jealousy, and approbation native to any adolescent girl, under the watchful eye of their stern and enigmatic saxophone teacher, whose focus may not be as strictly on their upcoming recital as she implies.

    She leaves behind an extraordinary and acclaimed body of work - but she also leaves a legacy of secrets and emotional damage that will take months to unravel.