The province has become synonymous with conflict, terrorism and tortuous efforts to forge peace. But what is life there really like? In this enchanting and highly original book Martin Fletcher presents a portrait of Northern Ireland utterly at odds with its dire international image. He paints a compelling picture of a place caught in a time warp since the 1960s, of a land of mountains, lakes and rivers where customs, traditions and old-world charm survive, of an incredibly resourceful province that has given the world not just bombs and bullets but the Titanic, the tyre and the tractor, a dozen American presidents, two prime ministers of New Zealand and a Hindu god. He meets an intelligent, fun-loving, God-fearing people who may do terrible things to each other but who could not be more welcoming to outsiders. He describes a land of awful beauty, a battleground of good and evil, a province populated by saints and sinners that has yet to be rendered bland by the forces of modernity.

    Its tentacles reach the shores of America when John Costa, a once-prominent attorney who has all but given up on life, is questioned by the police. They’re asking about the person he’d least expect: the enigmatic Irish woman he secretly admires. His heart tells him she’s innocent, but new evidence hints at a sinister past. Will he be able to exonerate the woman of his dreams, or is he destined to become another victim? Learn the truth in this compelling tale of love, intrigue, and murder!

    Solar Bones is the story of one such visit. Marcus Conway, a middle-aged engineer, turns up one afternoon at his kitchen table and considers the events that took him away and then brought him home again.Funny and strange, McCormack’s ambitious and other-worldly novel plays with form and defies convention. This is profound new work is by one of Ireland’s most important contemporary novelists. A beautiful and haunting elegy, this story of order and chaos, love and loss captures how minor decisions ripple into waves and test our integrity every day.

    Some poems read as conversations, some as internal monologues, others as observations, but they all work together to tell one couple's love story.

    it is the facade that many of us peruse our lives carrying, often neglecting our pain, our mental health, and most importantly, the way we are more prone to hurting others when we lack this self-awareness. (w)holehearted seeks to encompass as many stories as possible, touching on several topics, namely, spirituality, feminism, colorism, domestic violence, intersectionality, mental health and more. it aims to depict that anyone with the darkest past and pitfalls can still save themselves from drowning in the difficulties that not only plague our world, but also plague our hearts.

    There, she finds a foreign, civilized world -- and Manus, the architect son of a wealthy, devout family. Together Deirdre and Manus build a marriage that, like Dublin itself, is fraught with hope and threatened by legacies. When Deirdre's secret resurfaces, she is forced to confront the questions "How much of our parents do we carry? Do their sins and frailties shape who we become to our own children?"

    

    Reporting the Troubles brings together over sixty stories from the journalists who were on the ground. This remarkable, important book spans the thirty-year conflict, from the day in 1969 that the violence erupted on Duke Street in Derry, to the Good Friday Agreement and the Omagh bomb. Contributions include: Anne Cadwallader (BBC, RTE, Reuters) on the 1983 Maze breakout, Denis Murray (former BBC Ireland Correspondent) on one of the less-remembered deaths of the Troubles that has stayed with him, John Irvine (ITV News Senior International Correspondent) on covering ten funerals in one week, Paul Faith (Press Association) on taking the famous `Chuckle Brothers' photograph of McGuinness and Paisley, Conor O'Clery (Irish Times) on Ian Paisley, Martin Bell (BBC) on working in Belfast, and staying at the Europa one of the many times it was bombed, Kate Adie (BBC) on a lesson learned from the Troubles, David McKittrick (BBC, Independent) on the peace line.

    Here refugees listen to relaxation tapes that create an Arcadia out of tires and bleach. Here the alphabet spells out disaster and devours children. Here plate tectonics birth a misery rift, spinning loved ones away from each other across an uncaring sea. And here the cosmos--and Cosmos, as Carl Sagan's hopeful words are fissured by erasure--yawns wide.Wilder is grimly visceral but also darkly sly; it paints its world in shades of neon and rust, and its apocalypse in language that runs both sublime and matter-of-fact. "Some of us didn't have lungs left," writes Wahmanholm. "So when we lay beneath the loudspeaker sky--when we were told to pay attention to our breath--we had to improvise." The result is a debut collection that both beguiles and wounds, whose sky is "black at noon, black in the afternoon."

    Based on the last years of the writer Violet Hunt, a once-glamorous woman living in Kensington during the Blitz who is now losing her memory, the novel's three 'acts' describe with insight, humour and compassion what happens to 'Claire Temple' in her last months. 'A quite extraordinary book,' was the verdict of Cressida Connolly in the Spectator, 'unflinchingly, blackly funny, brilliantly observed and terrifying.' And because Claire Temple is an unrepentant snob, 'the novel gives a sly account of the end of an entire way of life.'

    He becomes a priest, winning the coveted Golden Chalice for his singing when in seminary school abroad. But the duality of nature threatens to destroy the brilliant future that lies before him. Beloved of his parishioners and canon, he is devastatingly attractive to women, in particular the wealthy patron of his church at Kilbarrack, Ireland. But it is not until her wayward and sensual niece, Claire, arrives that disaster strikes . . .In the magnificent narrative tradition of The Citadel, The Stars Look Down and Cronin's other classic novels, The Minstrel Boy is a great book by a much-loved author

    It tells the woeful tale of a group of 'fallen' women who have had their babies snatched from them at birth to be given up for adoption, and their wretched lives of drudgery earning their keep in the laundry.

    The Oxford Book of Irish Short Stories triumphantly demonstrates the development of the short story in Ireland--from the early folk tales of the oral tradition (here translated from the Irish) to the writing of Oliver Goldsmith, Oscar Wilde, and James Joyce. William Trevor, himself a distinguished short story writer, brings a special sensibility and awareness to his role as editor as he presents stories by Maria Edgeworth, Elizabeth Bowen, Liam O'Flaherty and such modern rising stars as Edna O'Brian, Desmond Hogan, and Joyce Cary. This wide-ranging collection of forty-five stories will certainly serve to entertain and enrich our understanding of this unique literary genre.

    So when Amy Donoghue, social media manager extraordinaire steps in to rehabilitate her image, Ali realises she may have to wade once more into the grubby insta-hole. With her ex, Sam, still ignoring her and her mother Mini having a mild grief-induced psychotic break (her scheme for scattering Miles' ashes seems not only bonkers but borderline illegal), Ali's got little else to cling on to but #sponcon and #ootds. Meanwhile Shelly is trying to settle into her new life as a mum-of-two while being held hostage by her mysterious insta-stalker whose sole objective is to keep Shelly on Instagram. But with her fellow Mummy Influencer friends @HolisticHazel immersed in creating WYND festival (her answer to the Goop Summit) and @PollysFewBits being as non-descript as ever, Shelly must get to the bottom of it herself. When Ali starts attending Catfishers Anonymous as a part of Amy's plan for Image Rehab, she discovers some information that may just help Shelly ...

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.