Chorus in the Dark invites attention to the treaty negotiated by the voices of Lamentations. The issues of God's justice and human rights are at the centre of a forceful discussion embodied in the five poems of Lamentations. Difficult questions are subtly raised: How can God's justice be recognized and honoured in the midst of suffering? How can the human right to protest against mistreatment be respected? How can loss, grief, and shame be overcome? What future is there for the victims? How can these sensitive issues be negotiated without loss? Zion is the first major speaker in Lamentations. Zion projects the voice of a woman crying by the grave. Her pain is intense, her loss is vast, her anger is uncontrollable. Zion is unable to see any future. God is indeed just in destroying her, but her surviving children do not deserve her fate. The other major speaker is the man of Lamentations 3. He too speaks of the pain, grief, anger, and desire for vengeance of a victim bent under the yoke of affliction. Yet, like a Davidic king, he dares to claim covenant promises and hope that darkness will eventually turn to light. Through both harmony and discord, and with a profound ambivalence toward the future, the separate voices of Lamentations resonate in a timbre that transcends the sum of its parts. The five poems, while having unique value individually, are meant to be read together as a living documentation of a moment of suspension, a great turning point in the history of Israel.

From the author of lnsectopedia, a powerful exploration of loss, grief, endurance, and the absences that permeate the present. Unconformities are gaps in the geological record, physical evidence of breaks in time. For Hugh Raffles, these holes in history are also fissures in feeling, knowledge, memory, and understanding. In this endlessly inventive, riveting book, Raffles enters these gaps, drawing together threads of geology, history, literature, philosophy, and ethnography to trace the intimate connections between personal loss and world historical events, and to reveal the force of absence at the core of contemporary life. Through deeply researched explorations of Neolithic stone circles, Icelandic lava, mica from a Nazi concentration camp, petrified whale blubber in Svalbard, the marble prized by Manhattan's Lenape, and a huge Greenlandic meteorite that arrived in New York City along with six Inuit adventurers in 1897, Raffles shows how unconformities unceasingly incite human imagination and investigation yet refuse to conform, heal, or disappear. A journey across eons and continents, The Book of Unconformities is also a journey through stone: this most solid, ancient, and enigmatic of materials, it turns out, is as lively, capricious, willful, and indifferent as time itself.

The fourth in Dark Passage’s reissue series of crime mysteries by June Wright, The Devil’s Caress, originally published in 1952, is an tense psychological thriller set on the wild southern coast of the Mornington Peninsula, outside Melbourne. Overworked young medico Marsh Mowbray has been invited to the country home of her revered mentor, Dr. Kate Waring, but it's far from the restful weekend she was hoping for. As storms rage outside, the house on the cliff’s edge seethes with hatred and tension, and two suspicious deaths soon follow. "Doubt is the devil’s caress", one of the characters tells Marsh, as her resolute efforts to get to the bottom of the deaths force her to question everyone's motives, even those of Dr. Kate. This is a classic country house mystery with shades of Agatha Christie, but with the jagged emotional edge of Daphne du Maurier.

Poems that give voice and agency to marginal figures in rural places and cityscapes.

In this long awaited follow-up to the best-selling An Altar in the World, Barbara Brown Taylor explores ‘the treasures of darkness’ that the Bible speaks about. What can we learn about the ways of God when we cannot see the way ahead, are lost, alone, frightened, not in control or when the world around us seems to have descended into darkness?