Travelling with him is a secret passenger - his daughter. Twenty-something, unkempt, off the rails.With a week on the road together, father and daughter must restore themselves and each other, and repair a relationship that is at once fiercely loving and deeply scarred.As they journey south, down the motorways, through the service stations, a devastating picture reveals itself: a story of grief, of shame, and of love in all its complex, dark and glorious manifestations.______________PRAISE FOR WE ARE NOT IN THE WORLD:'Wonderful, wrenching . . . full of enormous feelings very precisely rendered' Sara Baume'A whirlpool of memories, regrets and hopes' Tim Pears'An uncanny ability to turn the seemingly insignificant into something monumental' Jan Carson'Unusual, utterly original and mysterious . . . definitely a 2020 must read' Elaine Feeney

    

    This compelling collection showcases Brooks's technical mastery, her warm humanity, and her compassionate and illuminating response to a complex world. This edition also includes a special PS section with insights, interviews, and more—including a short piece by Nikki Giovanni entitled "Remembering Gwen."By 1963 the civil rights movement was in full swing across the United States, and more and more African American writers were increasingly outspoken in attacking American racism and insisting on full political, economic, and social equality for all. In that memorable year of the March on Washington, Harper & Row released Brooks’s Selected Poems, which incorporated poems from her first three collections, as well as a selection of new poems.This edition of Selected Poems includes A Street in Bronzeville, Brooks's first published volume of poetry for which she became nationally known and which led to successive Guggenheim fellowships; Annie Allen, published one year before she became the first African American author to win the Pulitzer Prize in any category; and The Bean Eaters, her fifth publication which expanded her focus from studies of the lives of mainly poor urban black Americans to the heroism of early civil rights workers and events of particular outrage—including the 1955 Emmett Till lynching and the 1957 school desegregation crisis in Little Rock, Arkansas.

    There are the Ruttledges, who came from London in search of a different life on the edge of the village lake; John Quinn, who will stop at nothing to ensure a flow of women through his life; Jimmy Joe McKiernan, head of the local IRA as well as town auctioneer and undertaker; the gentle Jamesie and his wife, Mary, who have never left the lake and who know about everything that ever stirred or moved there; Patrick Ryan, the builder who never quite finishes what he starts; Bill Evans, the farmhand whose orphaned childhood was marked with state-sanctioned cruelties and whose adulthood is marked by the scars; and the wealthiest man in town, known as the Shah. A year in the lives of these and other characters unfolds through the richly observed rituals of work and play, of religious observance and annual festivals, and the details of the changing seasons, of the cycles of birth and death. With deceptive simplicity and eloquence, the author reveals the fundamental workings of human nature as it encounters the extraordinary trials and pleasures, terrors and beauty, of ordinary life.By the Lake is John McGahern’s most ambitious, generous, and superbly realized novel yet.(above copied from amazon.com)

    Percy Bysshe Shelley endures today as the great Promethean bard of the High Romantic period who is best remembered for extolling the sublime and affirming the possibility of transcendence.From the Hardcover edition.

    An admired contemporary of Rilke, Akhmatova, and Mandelstam, Russian poet Marina Tsvetayeva bore witness to the turmoil and devastation of the Revolution, and chronicled her difficult life in exile, sustained by the inspiration and power of her modern verse.The poems in this selection are drawn from eleven volumes published over thirty years.

    Housman's verse as it was established in 1939, three years after his death. In contains A Shropshire Lad, Last Poems, More Poems, the Additional Poems, and the three translations from A.W. Pollard's anthology, Odes from the Greek Dramatists.

    These poems hear the tracer fire in a bird's song and capture cell division and troop deployments in the same expansive thought. They move through concentric levels of association and embrace —from the space between the hands to the mesosphere and back again—touching everything in between. The book's focus shifts between local and global, public and private, individual and social. Everything gets in: through all five senses, through windows, between your sheets, under your skin.

    They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure - William Wordsworth, from the Advertisment prefacing the original 1798 edition. When it was first published, Lyrical Ballads enraged the critics of the day: Wordsworth and Coleridge had given poetry a voice, one decidedly different to what had been voiced before. For Wordsworth, as he so clearly stated in his celebrated preface to the 1800 edition (also reproduced here), the important thing was the emotion aroused by the poem, and not the poem itself. This acclaimed Routledge Classics edition offers the reader the opportunity to study the poems in their original contexts as they appeared to Coleridge's and Wordsworth's contemporaries, and includes some of their most famous poems, including Coleridge's Rime of the Ancyent Marinere.

    Ridgway has much to say, through showing not telling, about male violence, crowd psychology, the borders between play and abuse, and the motivations of policemen and criminals. But this is no humdrum crime novel. Ridgway is writing about people whose understanding of their own situations is only partial and fuzzy, who are consumed by emotions and motivations and narratives, or the lack thereof, that they cannot master. He focuses on peripheral figures to whom things happen, and happen confusingly, and his fictional strategies reflect this focus, so that his fictions themselves have an air of incompleteness and frustration about them. It's a high-wire act for a novelist but one that commands attention and provokes the dropping of jaws.

    "Tara Road," her first full-length novel since "The Glass Lake," again shows her incomparable understanding of the human heart in the tale of two women, one from Ireland, one from America, who switch lives, and in doing so learn much about each other, as well as much about themselves. Ria lived on Tara Road in Dublin with her dashing husband, Danny, and their two children. She fully believed she was happily married, right up until the day Danny told her he was leaving her to be with his young, pregnant girlfriend. By a chance phone call, Ria meets Marilyn, a woman from New England unable to come to terms with her only son's death and now separated from her husband. The two women exchange houses for the summer with extraordinary consequences, each learning that the other has a deep secret that can never be revealed.Drawn into lifestyles vastly differing from their own, at first each resents the news of how well the other is getting on. Ria seems to have become quite a hostess, entertaining half the neighborhood, which at first irritates the reserved and withdrawn Marilyn, a woman who has always guarded her privacy. Marilyn seems to have become bosom friends with Ria's children, as well as with Colm, a handsome restaurateur, whom Ria has begun to miss terribly. At the end of the summer, the women at last meet face-to-face. Having learned a great deal, about themselves and about each other, they find that they have become, firmly and forever, good friends.A moving story rendered with the deft touch of a master artisan, "Tara Road" is Maeve Binchy at her very best — utterly beautiful, hauntingly unforgettable, entirely original, and wholly enjoyable.

    Thomas' acclaimed translations of Akhmatova's poems. This volume includes "Requiem", her poem of the Stalinist Terror and "Poem Without a Hero".

    That's why Kelly convinces Lisa and Rebecca to try out for Cinderella, the school musical. Kelly is sure she'll get the lead...until she totally messes up her audition!

    These poems explore a more emotional side of Charles Bukowski.

    Tableaux Parisiens condemns the crushing effects of urban planning on a city's soul and praises the city's anti-heroes including the deranged and derelict. Le Vin centers on the search for oblivion in drink and drugs. The many kinds of love that lie outside traditional morality is the focus of Fleurs du Mal while rebellion is at the heart of Révolte.