And the McKennas, fresh from Ireland, have no intention of being victims. When Nolan McKenna and his sisters arrived unannounced on Cissie Cassidy's doorstep claiming to be her late husband's long-lost relatives, the lonely widow is all too willing to be taken in and trusting enough to help them find them a foothold in the city. While Nolan wields a shovel for twelve back-breaking hours a day, the beautiful, trusting Clare takes up with the wrong man instead of the collection agent who yearns to make her his bride. Sharp-witted and pretty, Evie is made of more ambitious stuff and uses her job behind the bar of the Harp of Erin to attract the attentions of Russell Blackstock, builder and land-speculator, who owns half the tenements on Clydeside - and plans to own still more. The worlds of the wealthy Blackstocks and the penniless McKennas are set on a collision course that will mean huge changes for them, and for the city they live in.

    There it was, inches away from me on a hotel table. Not in conventional currency, but in the world’s deadliest commodity. Heroin.’As part of Scotland Yard’s undercover team, it was Peter Bleksley’s job to infiltrate some of the capital’s most dangerous gangs and bring them down. For ten years, he went deeper into the criminal underworld than any cop had before him.Meeting with dealers, gangland leaders and members of the IRA and the Mafia, he lived the life of the Great Pretender, constantly changing his identity to ensure his cover was never blown.Whilst undeniably thrilling work at times, it came at a heavy price. The more successful he was at bringing criminals to justice, the longer the list of those who wanted revenge became. Even now, Peter looks over his shoulder in case someone should wish to act on an old threat.In The Gangbuster, Bleksley draws us into the world of drugs, violence and covert operations he inhabited for so long in the pursuit of justice.Now a renowned policing and crime expert seen on the BBC and as the Chief on Channel 4’s Hunted, Peter Bleksley reputation still precedes him the world over.

    It could be argued that he dared, in fact, to be the first modern poet. . . .Above all, Blake teaches us that the imagination is a portion of the divine principle, that "Energy is Eternal Delight," and that "everything that lives is Holy." Human liberty and imagination have never been better served.

     It’s pretty obvious if you think about it that it wasn’t a magical girdle that Aphrodite had. It was a pair of magic shoes. So where are those shoes now? Making the rounds with mortal women! Grace Gallagher would be the first to say she’s nothing special. Short, on the plump side, with a failing bookstore, she is the black sheep of her large family. More than anything she wants to live her own life, have an adventure, maybe even a little romance like in those books she hides from her parents. Then a strangely handsome man drops off a package at the shop, addressed to her. Inside are a pair of shoes.

    Phil Tufnell, aka 'Tuffers', is the much-loved English cricketer from the 1990s who has now become one of this country's favourite broadcasters. Not cast from the same mould as other players of his generation, Tufnell became a cult figure for his unorthodox approach to the game ... and to life in general. 'Tuffers' Cricket Tales' is a collection of the great man's favourite cricket stories that will amuse and inform in equal measure. Tufnell's unmistakably distinctive voice, as heard to such good effect on 'Test Match Special', steers fans through dozens and dozens of terrifically entertaining and insightful anecdotes, garnered from his 25-year playing and broadcasting career. He introduces a cast of genuinely colourful characters found in dressing-rooms and commentary boxes from around the world, and in the process offers a uniquely warm and quirky homage to his sport. A perfect Father's Day gift for all cricket fans.

    A thoughtful dog grants an interview. A caterpillar offers life advice. Amy Gerstler’s newest collection of poetry, Dearest Creature, marries fact and fiction in a menagerie of dramatic monologues, twisted love poems, and epistolary pleadings. Drawing on sources as disparate as Lewis Carroll and Mary Shelley’s Frankenstein, as well as abnormal psychology, etiquette, and archaeology texts, these darkly imaginative poems probe what it means to be a sentient, temporary, flesh-and-blood beast, to be hopelessly, vividly creaturely.

    A work of rare beauty and lyric grace, The Ground is an entire world, drawn and revealed through contemplation of the post-9/11 landscape. With musicality and precision of thought, Phillips’s poems limn the troubadour’s journey in an increasingly surreal modern world (“I plugged my poem into a manhole cover / That flamed into the first guitar”). The origin of mankind, the origin of the self, the self’s development in the sensuous world, and––in both a literal and a figurative sense––the end of all things sing through Phillips’s supple and idiosyncratic poems. The poet’s subtle formal sophistication—toggling between flair and restraint—and sense of lyric possibility bring together the hard glint of the contemporary world and the eroded permanence of the archaic one via remixes, underground sessions, Spenserian stanzas, myths, and revamped translations. These are poems of fiery intelligence, inescapable music, and metaphysical splendor that concern themselves with both lived life and the life of the imagination—equally vivid and true––as they lay the framework for Phillips’s meditations on our connection to and estrangement from the natural world.

    This much loved story is joined by the following classic titles, to give a collection that has something for everyone, whatever their age: Black Beauty, Little Women, Alice in Wonderland, The Secret Garden, Robin Hood, The Wind in the Willows, The Railway Children, The Jungle Book and Peter Pan.

    But times are changing with the outbreak of war. With a husband bent on signing up for the trenches and a lecherous master of the house, Lily is forced to leave.Doing her bit for the war effort - and bringing in more money for the family - Lily goes to work in a factory making explosives to send to the trenches. It's a hard job. The munitionettes must face terrible working conditions, the constant danger of accidents and air strikes and a patronising, self-serving boss. And then someone she never wanted to see there arrives. Lady Charlotte, the pampered daughter of the Hall, joins the factory as a supervisor... Lily and Charlotte have choices they never had before - but in the shadow of the Great War, can the factory girls work together for a better future?

    The book is Hillman's sixth collection and her most wide-ranging. The problem the book poses is nothing less than a phenomenology of transformation. In her previous work, Hillman's investigations of alchemy and of contemporary life have created their own distinct mythologies, and here she turns to the first of the four basic elements, earth, to demonstrate a visionary science with a combination of lightness, wit and force.Embodied in syntax as unpredictable as the earth's movements, these poetic forms speak to and query the landforms as the line between faith and science blurs. Short lyrics inspired by the California missions, each with a retablo of punctuation, reflect on the solitude and history of the sign as it moves through the quotidian. Set among these lyrics, each of the three long poems in the book presents an aspect of Hillman's topography. By the end of this powerful work, a new state is visible: a Modernist poetics, subjected to immense internal pressures, above and beneath unsettled ground, has emerged in original shapes

    R. Ammons’s long, thin poem was written on a roll of adding-machine tape, then transferred foot by foot to manuscript. He chose this method as a serious experiment in making a poem adapt to something outside itself. The tape determined both the length of the poem’s lines and when it ends. Tape for the Turn of the Year is a poem of infinite variety, blessed by the rich resources of one of this century’s greatest poets. By turns witty, serious, lyrical, and meditative, it is at once a superbly entertaining book and a significant literary achievement.

    It is deep dive into emotions, empathy, acceptance, healing and insights into a different perspective towards life. The book embraces you in silence and stillness of thoughts. The book is an attempt to connect to souls, to reflect upon them, unbiased and together embrace a new beginning and a beautiful journey called life.

    Miyazawa Kenji: Selections collects a wide range of his poetry and provides an excellent introduction to his life and work. Miyazawa was a teacher of agriculture by profession and largely unknown as a poet until after his death. Since then his work has increasingly attracted a devoted following, especially among ecologists, Buddhists, and the literary avant-garde. This volume includes poems translated by Gary Snyder, who was the first to translate a substantial body of Miyazawa’s work into English. Hiroaki Sato’s own superb translations, many never before published, demonstrate his deep familiarity with Miyazawa’s poetry. His remarkable introduction considers the poet’s significance and suggests ways for contemporary readers to approach his work. It further places developments in Japanese poetry into a global context during the first decades of the twentieth century. In addition the book features a Foreword by the poet Geoffrey O’Brien and essays by Tanikawa Shuntaro, Yoshimasu Gozo, and Michael O’Brien.

    A large and important collection by one of Eastern Europe's major contemporary poets.

    This series of elegies records the transit of grief, observing with an unflinching eye how a singular traumatic event can permanently alter our understanding of time, danger, the material world and family. Marked by clarity and restraint, these lyric poems narrate a suspenseful, wrenching story that explores the depths and limits of empathy.“Living Room Altar”Except for the shirt pulled from the ocean,except for her hands, which keep folding the shirt,except for her body, which once held their bodies,my sister wants everything back now—If there were a god who could out of empty shellscarried by waves to shoremake amends—If the ocean saved in a jarcould keep from turning to salt—She’s hearing things:bird calling to bird,cat outside the door,thorn of the blackberry against the trellis."These heart-breaking poems of an all-too-human life stay as absolute as the determined craft which made them. There is finally neither irony nor simple despair in what they record. Rather, it is the far deeper response of witness, of recognizing what must be acknowledged and of having the courage and the care to say so." —Robert Creeley