He had met her three times and three times forgotten all about her... William Barrow finds himself in lonely retirement in West Cork. Once an internationally renowned pianist, a terrible skin disease has attacked his hands and made it impossible for him to perform. All he can play, haltingly, is Ravel's Concerto for the Left Hand. Tara is a piano teacher with barely enough pupils to pay the month's rent. In the local café, the elegant writing of a job advertisement catches her eye: 'Wanted. Housekeeper.' She begins to work in William's house, keeping to herself the knowledge that they have met three times before – encounters that have changed her life, to which he is oblivious. When William stumbles upon a well in the back garden, Tara finds herself longing for revenge. She spins tales of a mythical saint, of the healing powers of the water and of the moss that surrounds it. But as the moss begins to heal William's troubled hands, the lines between legend and reality begin to blur, and past and present collide in unexpected ways. Gripping and lyrical, The Well of Saint Nobody is a story of love, secrets and the elusive possibility of second chances.

In this third novel in a series that began with "Into His Arms" and "For Her Love," a spirited Irish lass, desperate to escape an arranged married, seduces the ship's captain who's charged with delivering her to her betrothed. Original.

Parody is a most iridescent phenomenon: of ancient Greek origin, parody's very malleability has allowed it to survive and to conquer Western cultures. Changing discourse on parody, its complex relationship with related humorous forms (e.g. travesty, burlesque, satire), its ability to cross genre boundaries, the many parodies handed down by tradition, and its ubiquity in contemporary culture all testify to its multifaceted nature. No wonder that 'parody' has become a phrase without clear meaning. The essays in this collection reflect the multidimensionality of recent parody studies. They pay tribute to its long and varied tradition, covering examples of parodic practice from the Middle Ages to the present day and dealing with English, American, postcolonial, Austrian, and German parodies. The papers range from the Medieval classics (e.g. Chaucer), parodies of Shakespeare, and the role of parody in German Romanticism, to parodies of fin-de-si�cle literature and the intertextual puzzles of the late twentieth century (such as cross-dressing, Schwab's Faustparody, and Rushdie's Satanic Verses). And they have transformed the contentious nature of parody into a diverse range of methodologies. In doing so, these essays offer a survey of the current state of parody studies.

"This lyrical testament to life as 'a blind date with mercy' will challenge and inspire."--Publishers Weekly [Starred Review] In 1991, when he was 13 years old, Lenny Duncan stepped out of his house in West Philadelphia, walked to the Greyhound station, and bought a ticket--the start of his great American adventure. Today Duncan, who inspired and challenged audiences with his breakout first book, Dear Church, brings us a deeply personal story about growing up Black and queer in the U.S. In his characteristically powerful voice he recounts hitchhiking across the country, spending time in solitary confinement, battling for sobriety, and discovering a deep faith, examining pressing issues like poverty, mass incarceration, white supremacy, and LGBTQ inclusion through an intimate portrayal of his life's struggles and joys. United States of Grace is a love story about America, revealing the joy and resilience of those places in this country many call "the margins" but that Lenny Duncan has called home. This book makes the bold claim that God is present with us in the most difficult of circumstances, bringing life out of death.

In the Middles Ages, the edges of one's world could represent different meanings. On the one hand, they might have been situated in far-away regions, mainly in the east and north, that one most often only knew from hearsay and which were inhabited by strange beings: humans with their faces on their chest, without a mouth, or with dog heads. On the other hand, the edges of one's world could just mean the borders of the community where one lived and that one sometimes might not have had the possibility to cross during one's whole life.In this volume specialists from eight European countries offer their ideas about different edges of the medieval world and contribute to a discussion that has been increasing greatly in Medieval Studies in recent times.

Amy Lemmon s stunning and heart-wrenching debut, Saint Nobody, offers us a profound meditation on the body, on the tribulations and the hard-found joys of incarnation. Lemmon does not shy away from a world where vestigial angel-parts ache to emerge and where there doesn t appear to be a speck of God. This piercing meditation takes the problem of the body, and the problem of the body in a world that often seems God-less, head-on, without flinching, and yet delivers us truths and beauty we would never have imagined. Lemmon knows that we can t count on the intercession of an absent saint, and she refuses easy solace. Instead, she probes deeply into the pain, into the conflicting emotions of childbirth, into the birth of a child with Down Syndrome which is probably the most extraordinary poem written on that subject to understand the life of our body here, the body in which pain is sharpest where my wings would be. This is a world of urine samples, errant chromosomes, lost kisses, first bleedings, chaotic cells, and scars, where the blood seems ours alone, and where the words are the only bread we have that may deliver us. In the bread of her words, Lemmon has given us a profound sacrament. "

In 1384, a poor and illiterate peasant woman named Ermine moved to the city of Reims with her elderly husband. Her era was troubled by war, plague, and schism within the Catholic Church, and Ermine could easily have slipped unobserved through the cracks of history. After the loss of her husband, however, things took a remarkable but frightening turn. For the last ten months of her life, Ermine was tormented by nightly visions of angels and demons. In her nocturnal terrors, she was attacked by animals, beaten and kidnapped by devils in disguise, and exposed to carnal spectacles; on other nights, she was blessed by saints, even visited by the Virgin Mary. She confessed these strange occurrences to an Augustinian friar known as Jean le Graveur, who recorded them all in vivid detail. Was Ermine a saint in the making, an impostor, an incipient witch, or a madwoman? Renate Blumenfeld-Kosinski ponders answers to these questions in the historical and theological context of this troubled woman's experiences. With empathy and acuity, Blumenfeld-Kosinski examines Ermine's life in fourteenth-century Reims, her relationship with her confessor, her ascetic and devotional practices, and her reported encounters with heavenly and hellish beings. Supplemented by translated excerpts from Jean's account, The Strange Case of Ermine de Reims brings to life an episode that helped precipitate one of the major clerical controversies of late medieval Europe, revealing surprising truths about the era's conceptions of piety and possession.