Sassy, witty, and expectedly peregrine, these panoramic poems are sharp and personal. They seem to arise from above, even higher than where pigeons choose to dismantle their bowel movements. Well-researched and deftly written, these tightly controlled, prudent, perceptive, and expedient poems are capable of turning your inflamed heart into snow or a Renaissance painting or a Catholic Church. - Vi Khi Nao, judge of the Charlotte Mew Prize The Things We Bring With Us: Travel Poems is simply stunning. The poems span the world and confront the baggage we carry and also the baggage burdened on us by others' narrow definitions of self. Huerta's razor-eyed insights combined with their precise language make for a dazzling debut. - Charlotte Pence, author of Code The poems in this chapbook debut tell stories I want to listen to. S.G. deftly writes of loneliness and feeling in-between, of traveling and searching for something in far-away places. It's a collection about being pulled in different directions, about finding oneself in traveling, but also in the places traveled-from. S.G. contemplates what they are drawn to and drawn from, carefully questioning the symmetry between the places they know well and the cities where they feel like a stranger. These powerful poems are queer and quiet, but ring loud with language, family, love, and eager movement through an unfamiliar world. - Sara Ryan, author of I Thought There Would Be More Wolves

With huge heart, humor, and a compassionate understanding of human nature, Sally Hepworth delivers a page-turning novel about the power of love to grow and endure even when faced with the most devastating of obstacles. You won’t forget The Things We Keep. Anna Forster is only thirty-eight years old, but her mind is slowly slipping away from her. Armed only with her keen wit and sharp-eyed determination, she knows that her family is doing what they believe to be best when they take her to Rosalind House, an assisted living facility. But Anna has a secret: she does not plan on staying. She also knows there's just one another resident who is her age, Luke. What she does not expect is the love that blossoms between her and Luke even as she resists her new life. As her disease steals more and more of her memory, Anna fights to hold on to what she knows, including her relationship with Luke. Eve Bennett, suddenly thrust into the role of single mother to her bright and vivacious seven-year-old daughter, finds herself putting her culinary training to use at Rosalind house. When she meets Anna and Luke, she is moved by the bond the pair has forged. But when a tragic incident leads Anna's and Luke's families to separate them, Eve finds herself questioning what she is willing to risk to help them. Eve has her own secrets, and her own desperate circumstances that raise the stakes even higher.

In this epistolary novel from the WWII home front, Johanna Berglund is forced to return to her small Midwestern town to become a translator at a German prisoner of war camp. There, amid old secrets and prejudice, she finds that the POWs have hidden depths. When the lines between compassion and treason are blurred, she must decide where her heart truly lies.

‘Utterly spectacular. For me, The Things we Need to Say is a real-life love story and one that will stay with me for a long time.’ Laurie Ellingham, author of One Endless Summer

Emotional labor is not adequately talked about or addressed by writing program administrators. The Things We Carry makes this often-invisible labor visible, demonstrates a variety of practical strategies to navigate it reflectively, and opens a path for further research. Particularly timely, this collection considers how writing program administrators work when their schools or regions experience crisis situations. The book is broken into three sections: one emphasizing the WPA’s own work identity, one on fostering community in writing programs, and one on balancing the professional and personal. Chapters written by a diverse range of authors in different institutional and WPA contexts examine the roles of WPAs in traumatic events, such as mass shootings and natural disasters, as well as the emotional labor WPAs perform on a daily basis, such as working with students who have been sexually assaulted or endured racist, sexist, homophobic, and otherwise disenfranchising interactions on campus. The central thread in this collection focuses on “preserving” by acknowledging that emotions are neither good nor bad and that they must be continually reflected upon as WPAs consider what to do with emotional labor and how to respond. Ultimately, this book argues for more visibility of the emotional labor WPAs perform and for WPAs to care for themselves even as they care for others. The Things We Carry extends conversations about WPA emotional labor and offers concrete and useful strategies for administrators working in both a large range of traumatic events as well as daily situations that require tactical work to preserve their sense of self and balance. It will be invaluable to writing program administrators specifically and of interest to other types of administrators as well as scholars in rhetoric and composition who are interested in emotion more broadly.

A classic work of American literature that has not stopped changing minds and lives since it burst onto the literary scene, The Things They Carried is a ground-breaking meditation on war, memory, imagination, and the redemptive power of storytelling. The Things They Carried depicts the men of Alpha Company: Jimmy Cross, Henry Dobbins, Rat Kiley, Mitchell Sanders, Norman Bowker, Kiowa, and the character Tim O’Brien, who has survived his tour in Vietnam to become a father and writer at the age of forty-three. Taught everywhere—from high school classrooms to graduate seminars in creative writing—it has become required reading for any American and continues to challenge readers in their perceptions of fact and fiction, war and peace, courage and fear and longing. The Things They Carried won France's prestigious Prix du Meilleur Livre Etranger and the Chicago Tribune Heartland Prize; it was also a finalist for the Pulitzer Prize and the National Book Critics Circle Award.

*** From the acclaimed author of The Flight of Cornelia Blackwood *** Everyone can change their life. But what happens when it hides a secret that changes everything? In 1964, Maggie wakes to find herself in a mental asylum, with no idea who she is or how she got there. Remnants of memories swirl in her mind - a familiar song, a storm, a moment of violence. Slowly, she begins to piece together the past and the events which brought her to this point. In the present day, Jonathan is grieving after the loss of his father. A cold, distant man, he was not easy to love, but at least while he lived there was hope for reconciliation. Then a detective turns up on Jonathan's doorstep to question him about crimes he believes Jonathan's father may have committed long ago... As the two stories interweave, the devastating truth long kept hidden must emerge, and both Maggie and Jonathan are forced to come to terms with the consequences of the shocking and tragic events of over forty years ago. 'Passionate, intriguing and beautifully written... deserves to stand on the shelf next to Maggie O'Farrell's books. A powerful and talented new voice' Rachel Hore, bestselling author of The Love Child 'If you love Maggie O'Farrell, you will love this' Veronica Henry, bestselling author of The Long Weekend 'A brave and moving story about how much can be lost and what happens next' Alison Moore, author of Booker-shortlisted The Lighthouse