From the quintessential 1960s poems ‘Let Me Die a Youngman’s Death’ and ‘Summer with Monika’ to the recent tender poems of fatherhood, this collection shows exactly why Roger McGough is one of our most celebrated poets.”

    This edition brings together, in a form he himself sanctioned, his Collected Poems of 1928, the unexpurgated version of Pansies, and Nettles, adding to these volumes the contents of the two notebooks in which he was still writing poetry when he died in 1930.It therefore allows the reader to trace the development of Lawrence as a poet and appreciate the remarkable originality and distinctiveness of his achievement. Not all the poems reprinted here are masterpieces but there is more than enough quality to confirm Lawrence's status as one of the greatest English writers of the twentieth century.

    Famous for its ancient hilltop monastery, Monte Cassino achieved a new and grimmer renown in the Second World War when it became a German bastion against the Allied advance through Italy.Even in February 1944, when the abbey buildings had been reduced to rubble by aerial bombardment, the mountain itself continued to command the adjoining river valleys and to block the road to Rome.Cassino had to be taken. Frontal assault had proved a costly failure, but now the highly ambitious Brigadier Heathfield had devised a plan for an outflanking operation. Total victory, or total defeat, could hinge on this single mission. A stirring and powerful thriller concerning the final years of the Second World War, perfect for fans of Alistair MacLean, David McDine and Jack Higgins.

    Hold your breath. Justin wants a sex life, not a sex death. Rebecca has breasts but doesn't understand them. She needs to talk to Dostoevsky about erections, hairy armpits and firing squads. Life is difficult. Steve wants cash so he can enjoy his trendy body. He wants Carly too, but she just wants a never-ending orgasm. Johnny wants to be touched and, if possible, he'd like to seem happy. Colin wants to know why tits make his fists clench.This is their story. They try their best. They drag their feet through the fashions, the foul, the famous and the drunk of twenty-first century Britain. They're looking for happiness. What they find is friction.

    The richly compelling and emotional new novel from Sunday Times bestselling author Adele Parks is the powerful story of four extraordinary women left to pick up the pieces of their lives, in the scarred, glamorous and endlessly fascinating post-First World War era.New Year's Eve, 1920. The Great War is over and it's a new decade of glamorous promise. But a generation of men and women who survived the extreme trauma and tragedy will never be the same. With countless men lost, it seems that only wealth and beauty will secure a husband from the few who returned, but lonely Beatrice has neither attribute. Ava has both, although she sees marriage as a restrictive cage after the freedom war allowed. Sarah paid the war's ultimate price: her husband's life. Lydia should be grateful that her own husband's desk job kept him safe, but she sees only his cowardice.A chance encounter for one of these women with a striking yet haunted officer changes everything. In a world altered beyond recognition, where not all scars are visible, this damaged and beautiful group must grasp any happiness they can find - whatever the cost.

    Thousands remain displaced in what is now the British Occupied Zone. Charged with overseeing the rebuilding of this devastated city and the de-Nazification of its defeated people, Colonel Lewis Morgan is requisitioned a fine house on the banks of the Elbe, where he will be joined by his grieving wife, Rachael, and only remaining son, Edmund. But rather than force its owners, a German widower and his traumatized daughter, to leave their home, Lewis insists that the two families live together. In this charged and claustrophobic atmosphere all must confront their true selves as enmity and grief give way to passion and betrayal. The Aftermath is a stunning novel about our fiercest loyalties, our deepest desires and the transformative power of forgiveness.

    They tell of Tom's encounters with Goldberry, with Old Man Willow, who tries to trap Tom inside his trunk, with the Badger-folk, and with the ghostly Barrow-wight, as well as with a princess, trolls, dwarves and legendary beasts.

    The sequence of poems is random - making it ideal for dipping into - and drawn from a number of sources, mixing both well-known and less familiar poetry.

    Collected Poems brings together not only all his books--The North Ship, The Less Deceived, The Whitsun Weddings, and High Windows--but also his uncollected poems from 1940 to 1984.This new edition reflects Larkin's own ordering for his poems and is the first collection to present the body of his work with the organization he preferred. Preserving everything he published in his lifetime, the new Collected Poems is an indispensable contribution to the legacy of an icon of twentieth-century poetry.

    Understandable perhaps from the point of view of the poet: readers on the other hand might wish to demur. The poems gathered here and chronologically ordered, thereby tracing the course of the war, are an extraordinary testimony to the almost unimaginable experiences of a combatant in that bitter conflict. Moving from the patriotic optimism of the first few poems (" ... fighting for our freedom, we are free") to the anguish and anger of the later work (where "hope, with furtive eyes and grappling fists / Flounders in mud ... "), there comes a point when the reality of trench-warfare and its aftershocks move beyond comprehension: Sassoon knows this, and it becomes a powerful element in his art. As a book, the images have a cumulative relentlessness that make it almost impossible to read more than a few poems in one sitting. Unlike the avant-garde experiments developing in Europe in the first decades of this century, Sassoon's verse is formally conservative--but this was perhaps necessary, for as one reads the poems, one feels that the form, the classically inflected tropes, the metre and rhyme, apart from ironising the rhetoric of glory and battle were necessary techniques for containing the emotion (and indeed, a tone of barely controlled irony may have been the only means by which these angry observations would have been considered publishable at the time). When Sassoon's line begins to fragment, as it does in several of the later poems, it is under the extreme pressure to express the inexpressible. Compassion and sympathy are omnipresent here, in their full etymological sense of suffering with or alongside others--something the higher echelons of command (those " ... old men who died / Slow, natural deaths--old men with ugly souls") were never able or willing to contemplate. But Sassoon intuited the future of warfare, could sense that this was not "the war to end all wars": the mock-religious invocation of the final poem prefigures the vicious euphemisms of more recent conflicts: "Grant us the power to prove, by poison gases, / The needlessness of shedding human blood." Sassoon's bile-black irony signals a deep-felt pessimism: it was with good reason. --Burhan Tufail

    As a young married couple, Andrew and Anne work together to make the very best of their property, High Peaks, but at what cost to their happiness? In time, the property will pass to their son, David. Handsome and hardworking, David is determined to become the best sheepdog handler in the land. Nothing is going to stand in his way-not even the beautiful Catriona Campbell, daughter of the wealthy graziers next door. The Call Of The High Country is an inspiring and heartwarming saga of a family battling through hard times, of a love that defies all odds, and of dreams that won't be broken.

    With SAINT JOAN (1923) Shaw reached the height of his fame and Joan is one of his finest creations; forceful, vital, and rebelling against the values that surround her. The play distils Shaw's views on the subjects of politics, religion and creative evolution.

    Castigated by his contemporaries for his treatment of moral, spiritual and political rebellion, and his sometimes sadistic and blasphemous subject matter, his poetry is imaginative through both classical and romantic traditions.

    Follows an entire generation of military officers and their wives, caught in an emotional crossfire of loyalty and violence, from occupied Germany and Japan in the 1950s to the tragedy of Vietnam

    They must truly accept the tragic past or risk losing the peace of the future together. First U.S. publication. Simultaneous with a hardcover library edition.