Only Matthew came home safely. Ten years later, Matthew tells us, he has found a way to bring his brother back... Unafraid to look at the shadows of our hearts, Nathan Filer's rare and brilliant debut shows us the strength that is rooted in resilience and love. Editor's Note Feb 10, 2014: St Martin's Press have just announced that Where The Moon Isn't will be republished under the UK title, The Shock of the Fall this week in digital format and later this fall in paperback. They said that the title change was necessary "because otherwise there's a lot of confusion" - The Shock of the Fall recently won the Costa Book of the Year award, which is UK based but has international renown.

    In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these forms she slowly dismantles them, and in doing so seeks to move through the self, to its undoing.

    Ted Wallace is an old, sour, womanising, cantankerous, whisky-sodden beast of a failed poet and drama critic, but he has his faults too.Fired from his newspaper, months behind on his alimony payments and disgusted with a world that undervalues him, Ted seeks a few months repose and free drink at Swafford Hall, the country mansion of his old friend Lord Logan.But strange things have been going on at Swafford.  Miracles, Healings, Phenomena beyond the comprehension of a mud-caked hippopotamus like Ted...

    it contains black & white photographs paired with poetry pieces; giving it a photo diary feels.

    They celebrate women with a majesty that has inspired and touched the hearts of millions.These memorable poems have been reset and bound in a beautiful edition--a gift to keep and to give.

    But as the summer of their senior year came to a close, unforeseen events would tear the young couple apart, setting them on radically divergent paths.Now, twenty-five years later, Amanda and Dawson are summoned back to Oriental for the funeral of Tuck Hostetler, the mentor who once gave shelter to their high school romance. Neither has lived the life they imagined.As Amanda and Dawson carry out the instructions Tuck left behind for them, they realize that everything they thought they knew was not as it seemed. Forced to confront painful memories, the two former lovers will discover undeniable truths about the choices they have made. And in the course of a single, searing weekend, they will ask of the living, and the dead: Can love truly rewrite the past?

    Throughout the pages you will experience heartbreak, happiness, sadness, and be reminded of what it was like to be a teenager.

    With saucy detail on every page, this no-nonsense guide reveals why a strong woman is much more desirable than a "yes woman" who routinely sacrifices herself. The author provides compelling answers to the tough questions women often ask: · Why are men so romantic in the beginning and why do they change? · Why do men take nice girls for granted? · Why does a man respect a woman when she stands up for herself? Full of advice, hilarious real-life relationship scenarios, "she says/he thinks" tables, and the author's unique "Attraction Principles," Why Men Love Bitches gives you bottom-line answers. It helps you know who you are, stand your ground, and relate to men on a whole new level. Once you've discovered the feisty attitude men find so magnetic, you'll not only increase the romantic chemistry—you'll gain your man's love and respect with far less effort.

    Simultaneously, this compilation unpacks the contentious relationship that exists between Róisín and her mother, her platonic and romantic heartbreaks, and the cognitive dissonance felt as a result of being so divided among her broad spectrum of identities.

    The poems’ subject is the natural world, but their images would never occur in nature. This book is serious and funny at the same time, like a big grave with a clown lying in it.

    Like Emily Dickinson, she lived in self-imposed isolation, writing of God and lost love with a sensuality and passion that seemed to emanate from the soul.This edition of 53 works combines a number of her best-known sonnets, ballads, and shorter lyrics with her long masterpiece, the narrative fable Goblin Market. A haunting fairy tale in verse, Goblin Market was once labeled a children's poem, yet its intricate symbolism and themes of temptation, sin, and redemption mark it for an adult audience. Among other works included in this choice collection are "The Convent Threshold," "Up-hill," "Cousin Kate," "Winter: My Secret," "Maude Clare," "No, Thank You, John," and "After Death."

    In a world that teaches us to cling to what we love at all costs, there is an undeniable art to moving on – and it’s one that we are constantly relearning. In this series of honest and poignant essays, Heidi Priebe explores the harsh reality of what it means to let go of the people and situations we love most - often before we are ready to – and how to embrace what comes next.

    With acute irony tempered by a generous curiousity, she documents life's improbability as well as its transient beauty.

    He's single, child-free, goes to the right clubs and knows which trainers to wear. He's also found a great way to score with women: attend single parents' groups full of available (and grateful) mothers, all hoping to meet a Nice Guy.Which is how Will meets Marcus, the oldest twelve-year-old on the planet. Marcus is a bit strange: he listens to Joni Mitchell and Mozart, looks after his mum and has never owned a pair of trainers. But Marcus latches on to Will - and won't let go. Can Will teach Marcus how to grow up cool? And can Marcus help Will just to grow up?

     Bishop was unforgiving of fashion and limited ways of seeing and feeling, but cast an even more trenchant eye on her own work. One wishes this volume were thicker, though the perfections within mark the rightness of her approach. The poems are sublimely controlled, fraught with word play, fierce moral vision (see her caustic ballad on Ezra Pound, "Visits to St. Elizabeths"), and reticence. From the surreal sorrow of the early "Man-Moth" (leaping off from a typo she had come across for "mammoth"), about a lonely monster who rarely emerges from "the pale subways of cement he calls his home," to the beauty of her villanelle "One Art" (with its repeated "the art of losing isn't hard to master"), the poet wittily explores distance and desolation, separation and sorrow.