That changed dramatically the moment they met- they knew ! From Colorado to Maryland to Ireland-the magic prevailed. Not even death could stop them from being together. She waited for him.He waited for her. "Matt and Misha would be sad when they arrived but if only they knew the beauty of it."

    Magpies, he soon discovers, are as clever and mischievous as monkeys. They are also notorious thieves, and this one quickly steals his heart. By the time the creature develops shiny black feathers that inspire the name Benzene, Charlie and the bird have forged an unbreakable bond. While caring for Benzene, Charlie learns his biological father, an eccentric British poet named Heathcote Williams who vanished when Charlie was six months old, is ill. As he grapples with Heathcote’s abandonment, Charlie comes across one of his poems, in which Heathcote describes how an impish young jackdaw fell from its nest and captured his affection. Over time, Benzene helps Charlie unravel his fears about repeating the past—and embrace the role of father himself. A bird falls, a father dies, a child is born. Featherhood is the unforgettable story of a love affair between a man and a bird. It is also a beautiful and affecting memoir about childhood and parenthood, captivity and freedom, grief and love.

    The evacuation of Dunkirk proves that the British can rise to a challenge, even against seemingly insurmountable odds. But now the soldiers walk the streets of Dover, even wandering through Woolworths store, and take weary turns on the town's skating rink. Life, despite the threat of invasion and the reality of bombing, must go on and people must take comfort where they find it. Toby Hendry, a fighter pilot, is awaiting orders when he meets Giselle, a young Frenchwoman who took the chance to flee occupied France with the English troops. Their love affair feels like a summer idyll, but can it withstand the forces of war? Meanwhile, reserve naval commander Paul Instow has been called up to fight in a war for which he feels too old. Distracting him from his worries is Molly, a young Dover prostitute. Their relationship is tender and happy, but is this a love born from desperation or could it be something more permanent? And then there are Harold, Spots and Boot, three boys desperate to fight the German invaders, armed only with catapults and a stolen Bren gun... In Dover Beach Thomas chronicles the lives and loves of ordinary people in besiged Britain during these tense, but curiously elated days.

    Here is the green and carefree world of a boy who delights in the possibilities of each day, of a child who wrings from every moment a feeling as intensely magical as it is profoundly innocent.

    Wessex was the "partly-real, partly-dream" county that formed the backdrop for most of Hardy's writings—named after an Anglo-Saxon kingdom and modeled on the real counties of Berkshire, Devon, Dorset, Hampshire, Somerset, and Wiltshire. The poems deal with classic Hardy themes of disappointment in love and life, and the struggle to live a meaningful life in an indifferent world. Although Hardy's poetry was not as well received as his fiction, he continued to publish collections until his death, and thanks in part to the influence of Philip Larkin, he is increasingly realized as a poet of great stature.

    Designed to bring BIG-LEAGUE FLAVOR to your WEEKNIGHT COOKING, this collection of recipes, developed by the Lucky Peach test kitchen and chef friends, features trusted strategies for adding oomph to produce with flavors that will muscle meat out of the picture.

    Freely admitting his own youthful bafflement with poetry, Bennett reassures us that the poets and poems in this volume are not only accessible but also highly enjoyable. He then proceeds to prove irresistibly that this is so.   Bennett selects more than seventy poems by Thomas Hardy, A. E. Housman, John Betjeman, W. H. Auden, Louis MacNeice, and Philip Larkin. He peppers his discussion of these writers and their verse with anecdotes, shrewd appraisal, and telling biographical detail: Hardy lyrically recalls his first wife, Emma, in his poetry, although he treated her shabbily in real life. The fabled Auden was a formidable and off-putting figure at the lectern. Larkin, hoping to subvert snooping biographers, ordered personal papers shredded upon his death.   Simultaneously profound and entertaining, Bennett’s book is a paean to poetry and its creators, made all the more enjoyable for being told in his own particular voice. its creators, made all the more enjoyable for being told in his own particular voice.

    When I don't want to talk I turn to Plot 29, or to a wilder piece of land by a northern sea. There, among seeds and trees, my breathing slows; my heart rate too. My anxieties slip away.’ As a young boy in 1960s Plymouth, Allan Jenkins and his brother, Christopher, were rescued from their care home and fostered by an elderly couple. There, the brothers started to grow flowers in their riverside cottage. They found a new life with their new mum and dad.As Allan grew older, his foster parents were never quite able to provide the family he and his brother needed, but the solace he found in tending a small London allotment echoed the childhood moments when he grew nasturtiums from seed.Over the course of a year, Allan digs deeper into his past, seeking to learn more about his absent parents. Examining the truths and untruths that he’d been told, he discovers the secrets to why the two boys were in care. What emerges is a vivid portrait of the violence and neglect that lay at the heart of his family.A beautifully written, haunting memoir, Plot 29 is a mystery story and meditation on nature and nurture. It’s also a celebration of the joy to be found in sharing food and flowers with people you love.

    My Bright Abyss, composed in the difficult years since and completed in the wake of a bone marrow transplant, is a moving meditation on what a viable contemporary faith—responsive not only to modern thought and science but also to religious tradition—might look like.Joyful, sorrowful, and beautifully written, My Bright Abyss is destined to become a spiritual classic, useful not only to believers but to anyone whose experience of life and art seems at times to overbrim its boundaries. How do we answer this “burn of being”? Wiman asks. What might it mean for our lives—and for our deaths—if we acknowledge the “insistent, persistent ghost” that some of us call God?

    Long before violence committed by police was routinely displayed on jumbotrons publicizing viral executions, the Black community has continually tasted the blood from having police boots in their mouths, ribs, and necks. The widespread circulation of racial injustices is the barefaced truth hunting us down, forcing us to confront the harsh reality—we haven’t made nearly as much racial progress as we thought.  The Antiracist: How to Start the Conversation about Race and Take Action will compel readers to focus on the degree in which they have previously, or are currently, contributing to the racial inequalities in this country (knowingly or unknowingly), and ways they can become stronger in their activism.   The Antiracist is an explosive indictment on injustice, highlighted by Kondwani Fidel, a rising young literary talent, who offers a glimpse into not only the survival required of one born in a city like Baltimore, but how we can move forward to tackle violent murders, police brutality, and poverty.   Throughout it all, he pursued his Master of Fine Arts in Creative Writing & Publishing Arts from the University of Baltimore, while being deeply immersed in his community—helping combat racism in schools by getting students to understand the importance of literacy and critical thinking. With his gift for storytelling, he measures the pulse of injustice, which is the heartbeat of this country.

    This new collection has a bonus section: in a series of wonderfully funny poems, responding to Carol Ann Duffy's The World's Wife McGough gives voice to a number of forgotten and longsuffering male figures: Lord Godiva, Mr Sappho, Mr Blyton, etcPresenter of Radio 4's Poetry Please and Britain's foremost popular poet, McGough brings us this happy collision of life, language and imagination with his unique and witty wordplay. His recent adaptation of The Hypochondriac playing at the Liverpool Playhouse has had fantastic reviews where, as with all his writing, McGough "produces that rare sound, an audience rocking to rhyme" (Susannah Clapp, Observer)

    Are they not to be envied, with their private jets and Chanel wardrobes and endless funds? Yet all too often those gilded lives have been beset with trauma and despair. Before the 20th century a wife’s inheritance was the property of her husband, making her vulnerable to kidnap, forced marriages, even confinement in an asylum. And in modern times, heiresses fell victim to fortune-hunters who squandered their millions.Heiresses tells the stories of these million dollar babies: Mary Davies, who inherited London’s most valuable real estate, and was bartered from the age of twelve; Consuelo Vanderbilt, the original American “Dollar Heiress”, forced into a loveless marriage; Barbara Hutton, the Woolworth heiress who married seven times and died almost penniless; and Patty Hearst, heiress to a newspaper fortune who was arrested for terrorism. However, there are also stories of independence and achievement: Angela Burdett-Coutts, who became one of the greatest philanthropists of Victorian England; Nancy Cunard, who lived off her mother's fortune and became a pioneer of the civil rights movement; and Daisy Fellowes, elegant linchpin of interwar high society and noted fashion editor.Heiresses is about the lives of the rich, who—as F. Scott Fitzgerald said—are ‘different’. But it is also a bigger story about how all women fought their way to equality, and sometimes even found autonomy and fulfillment.

    These poems are loose enough for the reader to flop down inside and stay awhile. They are plangent, personal, confessional, noisy, nostalgic, and maybe a little bit broken. They often contain boats and travel and Toronto (street names and railroad tracks, dives and parks and kitchens) because those are the sorts of things Eva H.D. is drawn to. In Rotten Perfect Mouth, readers will discover a writer with her heart on her sleeve and her hand on her pen, capturing the world around her with vibrant immediacy.

    Not to mention the vacations that had to be planned around the harvest, the near electrocution of the tree man, the limitations of his own middle-aged body, and the pity of his wife and kids. When Alexander runs (just for fun!) a costbenefit analysis, adding up everything from the live animal trap to the Velcro tomato wraps and then amortizing it over the life of his garden, it comes as quite a shock to learn that it cost him a staggering $64 to grow each one of his beloved Brandywine tomatoes. But as any gardener will tell you, you can't put a price on the unparalleled pleasures of providing fresh food for your family.

    Howe is a poet of language in history whose work resonates back through Melville, Dickinson, and Shelley to the seventeenth-century Metaphysicals and Puritans (the nonconformism of the title), and forward again to T. S. Eliot and the abstract expressionists. The sequences fall into two sections, "Turning" and "Conversion," in half-ironic nonconforming counterpart to Eliot's Four Quartets. Her collaging and mirror-imaging of words are concretions of verbal static, visual meditations on what can and cannot be said. For Howe, "Melville's Marginalia" is the essential poem in the collection, an approach to an elusive and allusive mind through Melville's own reading and the notations in his library books. This, says Howe, is "Language a wood for thought."