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Kendy Laswell and her daughter, Maisey, used to do everything together--until one fateful summer when Maisey witnessed something she shouldn't have, and their relationship fractured. Now, Maisey is back home to get married and Kendy realizes this is her last chance to reconnect with her daughter. Will Kendy and Maisey be able to reclaim the bond they once shared?
Another wild, expansive collection from the eternally surprising Pulitzer Prize–winning poet Smuggling diesel; Ben-Hur (the movie, yes, but also Lew Wallace's original book, and Seosamh Mac Grianna's Gaelic translation); a real trip to Havana; an imaginary trip to the Château d'If: Paul Muldoon's newest collection of poems, his twelfth, is exceptionally wide-ranging in its subject matter—as we've come to expect from this master of self-reinvention. He can be somber or quick-witted—often within the same poem: The mournful refrain of "Cuthbert and the Otters" is "I cannot thole the thought of Seamus Heaney dead," but that doesn't stop Muldoon from quipping that the ancient Danes "are already dyeing everything beige / In anticipation, perhaps, of the carpet and mustard factories." If this masterful, multifarious collection does have a theme, it is watchfulness. "War is to wealth as performance is to appraisal," he warns in "Recalculating." And "Source is to leak as Ireland is to debt." Heedful, hard-won, head-turning, heartfelt, these poems attempt to bring scrutiny to bear on everything, including scrutiny itself. One Thousand Things Worth Knowing confirms Nick Laird's assessment, in The New York Review of Books, that Muldoon is "the most formally ambitious and technically innovative of modern poets," an experimenter and craftsman who "writes poems like no one else."
A TEMPEST OF PASSION Private investigator Dane Whitelaw is being framed for murder. When Dane finds a photo under his door of his dead ex-girlfriend Sheila Warren he knows he’s been set up. The crime appears to be the handiwork of a serial killer currently terrorizing the Miami area, and someone wants Dane to take the fall. When Kelsey Cunningham’s best friend goes missing, she confronts the one person she thinks will have information—Dane, Sheila’s former lover and a man from Kelsey’s own past. Kelsey grudgingly partners up with Dane to follow Sheila’s tracks into a dangerous world of sex, violence and drugs. But the tentative trust between them shatters when Sheila’s body is discovered—strangled by Dane’s tie. Now Kelsey doesn’t dare trust anyone…especially not the man she has always loved. FREE BONUS STORY INCLUDED IN THIS VOLUME! A Man Worth Remembering by USA TODAY bestselling author Delores Fossen FBI agent Gabe Sanchez hasn’t seen Leigh O’Brien since she vanished from his life two years ago. Now Leigh is the witness in a major case, and Gabe has orders to keep her safe—but will he be able to protect his heart?
What, if anything, do dreams tell us about ourselves? What is the relationship between types of sleep and types of dreams? Does dreaming serve any purpose? Or are dreams simply meaningless mental noise--"unmusical fingers wandering over the piano keys"? With expertise in philosophy, psychology, and neuroscience, Owen Flanagan is uniquely qualified to answer these questions. And in Dreaming Souls he provides both an accessible survey of the latest research on sleep and dreams and a compelling new theory about the nature and function of dreaming. Flanagan argues that while sleep has a clear biological function and adaptive value, dreams are merely side effects, "free riders," irrelevant from an evolutionary point of view. But dreams are hardly unimportant. Indeed, Flanagan argues that dreams are self-expressive, the result of our need to find or to create meaning, even when we're sleeping. Rejecting Freud's theory of manifest and latent content--of repressed wishes appearing in disguised form--Flanagan shows how brainstem activity during sleep generates a jumbled profusion of memories, images, thoughts, emotions, and desires, which the cerebral cortex then attempts to shape into a more or less coherent story. Such dream-narratives range from the relatively mundane worries of non REM sleep to the fantastic confabulations of deep REM that resemble psychotic episodes in their strangeness. But however bizarre these narratives may be, they can shed light on our mental life, our well being, and our sense of self. Written with clarity, lively wit, and remarkable insight, Dreaming Souls offers a fascinating new way of apprehending one of the oldest mysteries of mental life.
HIS SECRET CHILD…AND HERS! FBI agent Gabe Sanchez had his orders concerning witness Leigh O'Brien—keep her alive, catch the bad guys, take care of her. The last was asking a lot, given that Leigh had vanished from his life two years ago. Now she was back, and Gabe wanted answers. Who was trying to kill her? Why did she leave without a word? Why did he still yearn for her, body and soul? Leigh couldn't remember her name, let alone the sexy stranger who claimed to be her husband. All she knew was that she had to get to Houston in time to save a child in grave danger. But she and Gabe were in for the shock of their lives when they arrived at their destination…because the child they sought was their son!
A versatile missive written from the intersections of gender, disability, trauma, and survival. “Some girls are not made,” torrin a. greathouse writes, “but spring from the dirt.” Guided by a devastatingly precise hand, Wound from the Mouth of a Wound—selected by Aimee Nezhukumatathil as the winner of the 2020 Ballard Spahr Prize for Poetry—challenges a canon that decides what shades of beauty deserve to live in a poem. greathouse celebrates “buckteeth & ulcer.” She odes the pulp of a bedsore. She argues that the vestigial is not devoid of meaning, and in kinetic and vigorous language, she honors bodies the world too often wants dead. These poems ache, but they do not surrender. They bleed, but they spit the blood in our eyes. Their imagery pulses on the page, fractal and fluid, blooming in a medley of forms: broken essays, haibun born of erasure, a sonnet meant to be read in the mirror. greathouse’s poetry demands more of language and those who wield it. “I’m still learning not to let a stranger speak / me into a funeral.” Concrete and evocative, Wound from the Mouth of a Wound is a testament to persistence, even when the body is not allowed to thrive. greathouse—elegant, vicious, “a one-girl armageddon” draped in crushed velvet—teaches us that fragility is not synonymous with flaw.
Taking difficult decisions of one's life is on of the hardest things a person can do. It's a battle you never know the outcome of, but surely it's worth remembering as you walk out in the form of a new person. It takes the strength of a warrior to go though such difficult times, and here, we bring to you all of them encapsulated in the form of this beautiful book. A War Worth Remembering is a collection of all such tales, inked beautifully by 32 writers, compiled by Rajveer Atal and Nidhi Khemka.
The Pulitzer Prize–winning poet delivers a sharp wake-up call with his fourteenth collection. A “howdie-skelp” is the slap in the face a midwife gives a newborn. It’s a wake-up call. A call to action. The poems in Howdie-Skelp, Paul Muldoon’s new collection, include a nightmarish remake of The Waste Land, an elegy for his fellow Northern Irish poet Ciaran Carson, a heroic crown of sonnets that responds to the early days of the COVID-19 pandemic, a translation from the ninth-century Irish, and a Yeatsian sequence of ekphrastic poems that call into question the very idea of an “affront” to good taste. Muldoon is a poet who continues not only to capture but to command our attention.