And so when she meets and falls in love with Daniel Fallow, son of a successful businessman, she's quick to accept his proposal of his marriage. His family, though, are against the match, and so the young couple marry in secret. Grudging acceptance follows, and as the Depression worsens Daniel is persuaded to join the family business, unaware of his father's dodgy dealings. Tragedy is just around the corner, and worse is to come when war is declared in 1939: as Daniel leaves to fight and her children are evacuated, Hope wonders if she will ever have all her family around her again...

    Poems discuss a journey across the ocean, a veterans' cemetery, money, an abandoned collection of dolls, and a man who escapes from his prison cell to commit a murder.

    

    Kenyon's fourth collection is built around two perfectly orchestrated poem sequences. In the first, the speaker contrasts memories of her baby carriage with other images from her childhood, such as her parents' toiling away at low-paying jobs. She also recalls the present-day life of her aging, increasingly dependent mother. Melancholia, the subject of the second sequence and several poems surrounding it, has been played to death in modern poetry, but still Kenyon offers new insights and gives even the most depressing poems an uplifting lilt in their final lines. In her hands a list of the latest medications becomes fit material for poetry: "The coated ones smell sweet or have / no smell; the powdery ones smell / like the chemistry lab at school / that made me hold my breath." She writes, in addition to illness, of sleep, insomnia and death. She interacts with the insects, birds and flowers in her New Hampshire landscape, relying on their fragility to teach her of her own. Kenyon describes afterlife, or "the Other Side," with the same precise, hard-edged imagery that fills her other poems." from Publisher's Weekly

    This comprehensive study guide also features "The Story Behind the Story" which details the conditions under which All the Pretty Horses was written. This title also includes a short biography on Cormac McCarthy and a descriptive list of characters.

    The Empty House is about being in love with the wrong man; The Day of the Storm is about discovering family—and its secrets; and Under Gemini is about deception. A wonderful new omnibus edition of three full-length novels by one of America's favorites.

    Boom tells the story of an elderly woman and her property agent son in Singapore, who are struggling over the potential en bloc sale of their home. Their destinies become interwoven with that of an idealistic civil servant, Jeremiah, who is facing the greatest challenge of his career—persuading a reluctant corpse to yield its memories. Boom is a quirky yet poignant tale about the relocation of both dead and living, and how personal stories get left behind in the inexorable march of progress.Written by economist-turned-playwright Jean Tay, Boom was conceptualised at the Royal Court Theatre in London in 2007, and developed and staged by the Singapore Repertory Theatre in September 2008. It was nominated for Best Original Script for The Straits Times’ Life! Theatre Awards in 2009 and is now an O- and N-Level Literature text in Singapore schools.“Jean Tay is one of the most gifted playwrights I have come across in years.” —Gaurav Kripalani, Artistic Director, Singapore Repertory Theatre

    

    "The work is deeply felt...Bernstein has been there and brought it back. Bernstein is a writer." [William S. Burroughs]

    Her trust in God is shattered when she learns that this beloved son has been killed in a tragic accident. A knock on the door produces a daughter-in-law and a granddaughter she never knew she had, leading to a restoration of her faith in God but opening old wounds as they discover a dark family secret. Conflict builds to the breaking point until only God can bring grace and healing.

    Her writing is gorgeous and cerebral (imagine Anne Carson) but she doesn't skimp on the wit (imagine Anne Carson's ne'er-do-well niece). Poetry-fearers, don't back away from this beautiful book; these might be the pages that bring you back into the form.” --Dave Eggers

    Sometimes we are the architects of our own fall.Akash Choudry wants a love for all time, not an arranged marriage. Still, under the weight of parental hopes, he agrees to one. He and Jaya marry in a cloud of colour and spice in Bombay. Their marriage has barely begun when Akash embarks on an affair. Jaya cannot contemplate sharing her husband with another woman, or looking past his indiscretions as her mother suggests. Cornered by sexual politics, she takes her fate into her own hands in the form of a lit match.Nothing endures fire. As shards of their past threaten their future, will Jaya ever bloom into the woman she can be, and will redemption be within Akash’s reach?

    

    "Criticism" provides readers with a wide chronological and thematic range of scholarly interpretations, divided into two sections. The first, "1745-1940," includes assessments by Henry Fielding, Samuel Johnson, Samuel Taylor Coleridge, William Makepeace Thackeray, D. H. Lawrence, W. B. Yeats, F. R. Leavis, and Andr� Breton, among others. The second, "After 1940," is by subject and collects critical discussions of A Tale of the Tub, the poems, the English and Irish politics, and Gulliver's Travels, by Hugh Kenner, Marcus Walsh, Irvin Ehrenpreis, Penelope Wilson, Derek Mahon, S. J. Connolly, George Orwell, R. S. Crane, Jenny Mezciems, Ian Higgins, and Claude Rawson. A Chronology and Selected Bibliography are also included.