I hope that this book makes everyone feel what I felt while writing it, and that love is a universal thing, and my story is not unique. And I hope that this makes them see that there is a beyond and that they can come out happy and clean. And, that this makes them braver than they already are, and gives them that little extra push and strength that they probably need

     In 2011 Queen Elizabeth made her first ever state visit to the Irish Republic. It was a great, moving occasion. 'In settling once and for all its relationship with Ireland,' Fintan O'Toole writes, 'Britain was also settling its relationship with the rest of the world taking its place as a normal, equal democracy.' It was not to last. Three Years in Hell is the fiercely intelligent, funny and sorrowful record of a slow-motion catastrophe. At its heart is the enigma of English nationalism. On the morning after the 2016 referendum O'Toole wrote: 'It is a question the English used to ask about their subject peoples: are they ready for self-government? But it is now one that has to be asked about the English themselves... England seems to be stumbling towards a national independence it has scarcely even discussed, let alone prepared for. It is on the brink of one of history's strangest nationalist revolutions.' The story culminates in the election of Boris Johnson, running against a weak, accidental Labour leader who promised to remain 'neutral' on the most important question of our time.

    This cross-linguistic pun presents the queer, non-white body as both vulnerable ('flesh') and weaponised ('flèche'), and evokes the difficulties of reconciling one's need for safety alongside the desire to shed one's protective armour in order to fully embrace the world.Central to the collection is the figure of the poet's mother, whose fragmented memories of political turmoil in twentieth-century China are sensitively threaded through the book in an eight-part poetic sequence, combined with recollections from Chan's childhood. As complex themes of multilingualism, queerness, psychoanalysis and cultural history emerge, so too does a richly imagined personal, maternal and national biography. The result is a series of poems that feel urgent and true, dazzling and devastating by turns.

    H. Auden first published in 1952, and the title work of a collection of poems by Auden, published in 1955. It is Auden's response to the detailed description, or ekphrasis, of the shield borne by the hero Achilles in Homer's epic poem the Iliad.The poem is the title work of The Shield of Achilles, a collection of poems in three parts, published in 1955, containing Auden's poems written from around 1951 through 1954. It begins with the sequence "Bucolics", then miscellaneous poems under the heading "In Sunshine and In Shade", then the sequence Horae Canonicae.It won the U.S. National Book Award for Poetry in 1956.

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

    Edward Shawcross absented himself as much as possible and kept a red-haired mistress in Tintern Avenue. Alice, his wife, sought solace in chocolate and continually carped at Connie, her beautiful daughter. And Connie and Gilbert, their children, formed an uneasy alliance in the face of their parents' antipathy.Twenty years before, Edward Shawcross had been an impoverished millhand, born in a slum to feckless parents. Overnight his fortunes had changed. To everyone's surprise he had married the plain and awkward daughter of the wealthy Fishwick family. Almost at once the Fishwicks, owners of a lucrative mill and a grand house, went to live abroad leaving Edward in charge of all their business interests. No-one could understand why Edward had suddenly made this leap of fortune.But as the new generation began to grow up, so the truth behind old scandals began to emerge. Then, after many years, the Fishwicks returned and violence swiftly followed. Before Connie and Gilbert could throw off the legacies of the past and build their own lives, there were to be many shocking revelations.

    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

    If the poetic sequence is the main mode of Maggot, it certainly isn't your father's poetic sequence. Taking as a starting point W. B. Yeats's remark that the only fit topics for a serious mood are "sex and the dead," Muldoon finds unexpected ways of thinking and feeling about what it means to come to terms with the early twenty-first century. It's no accident that the centerpiece of Maggot is an outlandish meditation on a failed poem that draws on the vocabulary of entomological forensics. The last series of linked lyrics, meanwhile, takes as its subject the urge to memorialize the scenes of fatal automobile accidents. The extravagant linkage of rot and the erotic is at the heart of not only the title sequence but also many of the round songs that characterize Maggot, and has led Angela Leighton, writing in The Times Literary Supplement, to see these new poems as giving readers "a thrilling, wild, fairground ride, with few let-ups for the squeamish."

    But, in the months and years that followed, she discovered that there was more than one way to build a family – and that there is a lot of joy to be found in life’s unexpected detours.In a raw and inspiring story of one woman’s journey through motherhood, family life and self-discovery, Lisa explores the many forms that family can take, and discovers the power of embracing your Plan B. For anyone who has ever found themselves facing the unexpected in life – whether that’s infertility, adoption, grief or any other personal challenge – this is an uplifting and honest account of finding love in unexpected places, and building your life on your own terms.

    Everyday objects surround us, the unconditional keepers of confessions and secrets.They are with us in those private moments when we think we are alone, perhapsin an abandoned stairwell or an empty lift, as we adjust our clothes, checkourselves in the mirror, scratch an itch or allow ourselves a sigh or a sob.What if those inanimate witnesses to silent thought and hidden emotion hadstories to tell—Of love, betrayal and hope?

    But Kate has secrets of her own, and a dark past that will come back to haunt her.Hidden is a thriller, set in Dublin, but it is also a voyage of self-discovery for Kate as she learns not just the truth about her patient, but some truths about herself.

    This extended satiric poem assesses the growing economic, political, and familial constraints of late 18th-century Catholic Ireland under British colonial rule, while subversively playing on the tradition of the aisling (or vision) poem in which a beautiful woman represents Ireland’s threatened sovereignty.At the beginning of The Midnight Court, a dreadful female envoy from the fairies appears in a dream to the unmarried poet. She summons him before the court of Queen Aoibheall in order to answer charges of wasting his manhood while women are dying for want of love. He listens to complaints that vary from the celibacy of the clergy to marriages performed between old and young for purely economic reasons. In all their bawdy tales, the female courtiers praise fertility, as well as sexual fulfillment, and condemn the conventions of the day. At last the Queen pronounces judgment on the poet, who awakens as he is being severely chastised by all of the women of the court.While containing many insights into 18th-century social conditions, The Midnight Court is also an exuberant, even jaunty work of the comic imagination. As the translator Ciaran Carson states in his foreword: “The protagonists of the ‘Court,’ including ‘Merriman’ himself, are ghosts, summoned into being by language; they are figments of the imagination. In the ‘Court’ the language itself is continually interrogated and Merriman is the great illusionist, continually spiriting words into another dimension.”

    . .With its brightly painted front door, white-sash windows and garden path sweeping down toward the sea, Lizzie O's guesthouse promises a welcome escape from the world. Aisling and Mick Fitzgerald are travelling all the way from Tasmania to celebrate their wedding anniversary, but Aisling is burdened with a secret that could ruin their marriage. Declan Byrne, exhausted from an unhealthy routine of long hours, takeaway and too much red wine, has spontaneously taken the week off to visit the village of his childhood summers. Katie Daly returns to West Cork after an absence of 35 years to care for her ageing mother only to find she must confront her painful past. Finally, Mia Montgomery is taking this holiday without telling her husband.Each of this group of strangers is at a crossroads. And one week in the middle of winter may change all of their lives.Praise for Esther Campion's Leaving Ocean Road and The House of Second Chances:'Warm, wise and full of humour. Esther Campion is a wonderful new voice in Australian fiction' CATHY KELLY'Joins the captivating Maeve Binchy in the pantheon of popular Irish novelists' Irish Scene

    Bizarre, witty, sad, sometimes caustic, her poems impart a zest for life, and reveal her unique eye for the marvels of the ordinary and her deep sensibility to the paradoxical nature of all human emotions.

    Based on Nin’s dreams, the novel is a surrealistic look within the narrator’s subconscious as she attempts to distance herself from a series of all-consuming and often taboo desires she cannot bear to let go. The incest Nin depicts is a metaphor—a selfish love wherein a woman can appreciate only qualities in a lover that are similar to her own. Through a descriptive exploration of romances and attractions between women, between a sister and her beloved brother, and with a Christ-like man, Nin’s narrator discovers what she thinks is truth: that a woman’s most perfect love is of herself. At first, this self-love seems ideal because it is attainable without fear and risk of heartbreak. But in time, the narrator’s chosen isolation and self-possessed anguish give way to a visceral nightmare from which she is unable to wake.