www.SusanWiggs.com #1 New York Times bestselling author Susan Wiggs sweeps readers away to the misty coast of Ireland in an irresistible tale of falling in love with the enemy… John Wesley Hawkins was condemned to hang, accused of treason and heresy. As he's transported to the scaffold at Tyburn, however, the Lord Protector steps in and offers him the hand of mercy—if Wesley agrees to travel to Ireland on a dangerous mission into the heart of the Irish resistance against English rule. He'll have to seduce the rebels' secrets from a headstrong Irishwoman, but that shouldn't be a problem for a man of Wesley's reputation…. Caitlin MacBride is mistress of the beleaguered Irish castle Clonmuir, and she makes no secret of her loyalty to her countrymen. She's determined to remain strong for her people, but a wish for true love one evening at sunset yields the one thing that may sway her resolve. When Wesley walks out of the mist that fateful night, Caitlin's faith in the magic of Ireland is briefly restored—until she discovers he's one of the treacherous Englishmen she has spent her life fighting against.

Favorite tales from the Emerald Isle: "When the King of the Cats Came to King Connal's Dominion," "The Town of the Red Castle," more. 9 full-page illustrations, numerous decorations.

Over the years American—especially New York—audiences have evolved a consistent set of expectations for the "Irish play." Traditionally the term implied a specific subject matter, invariably rural and Catholic, and embodied a reductive notion of Irish drama and society. This view continues to influence the types of Irish drama produced in the United States today. By examining seven different opening nights in New York theaters over the course of the last century, John Harrington considers the reception of Irish drama on the American stage and explores the complex interplay between drama and audience expectations. All of these productions provoked some form of public disagreement when they were first staged in New York, ranging from the confrontation between Shaw and the Society for the Suppression of Vice to the intellectual outcry provoked by billing Waiting for Godot as "the laugh sensation of two continents." The inaugural volume in the series Irish Literature, History, and Culture, The Irish Play on the New York Stage explores the New York premieres of The Shaughraun (1874), Mrs. Warren's Profession (1905), The Playboy of the Western World (1911), Exiles (1925), Within the Gates (1934), Waiting for Godot (1956), and Philadelphia, Here I Come! (1966).