Belfast, 1906. Edith tombe follement amoureuse d'Oliver, un illusionniste ambitieux qu'elle croise un soir de fête trop arrosée et retrouve le lendemain sur scène, où elle doit l'accompagner au piano. Mais c'est sur la jetée de Dun Laoghaire, bien des années plus tard, que s 'ouvre le roman. Edith y attend, avec sa fille, le bateau qui les emmènera en Angleterre et contemple à regret le pays où elle laisse son mari après avoir tout tenté pour le sauver de ses démons et le soutenir à une époque où le music-hall pâtit de l'arrivée du cinéma. Edith & Oliver est une déchirante histoire d'amour qui entraîne le lecteur dans les coulisses du théâtre, porteur de rêve et de magie, dont Michèle Forbes, actrice et scénariste, connaît aussi toute la cruauté.

Edith and Oliver fell in love after meeting in the glitzy world of the music hall in its Edwardian heyday. Edith is a spirited young woman who plays the piano by night; Oliver is an illusionist who dreams of touring the world, of pioneering ground-breaking illusions that will bring him fame and fortune. But their children arrive as the world begins to change, as cinemas crowd the high street and the draw of the music hall wanes. Oliver - drinking too much and haunted by the death of his mother - becomes desperate for one final illusion that will put his name in lights. As he loses his grip on reality, will his family pay the ultimate price? 'Forbes imbues [Edith & Oliver] with such wit and tenderness . . . a pleasure to read' Sunday Times 'Engaging . . . astute . . . striking' Irish Times 'Forbes writes beautifully on the hard, peripatetic reality of theatre life behind the greasepaint and glamour. She is also particularly insightful on the internal torment of a man brought down by the slow growth of self-deception . . . shimmering' Daily Mail

Edith was born into a different world. But her rebellious nature brought her to the seedy glamour of the music hall, where she plays the piano by night. Oliver is an illusionist of moderate repute. But he is a man of ambition. He wants to tour the world, to pioneer ground-breaking illusions. History and fate have other ideas. When Edith and Oliver meet they fall headlong in love. But their children arrive as the world begins to change, as cinemas crowd the high street and the draw of the music hall wanes. What follows is a struggle: against the entropy of marriage, against the march of time, and against Oliver's flaws - flaws that may cost them everything.

'What was she? Not a child, for she was seventeen, and taller than Kitty: not a girl, for she floated like a feather, and flew into trees like a bird; not a spirit - she was human to touch. But to-night she was all made of mischief and magic, remote form him, and yet calling him to here . . .' At thirty-two, her mother dead, Agatha Bodenham finds herself quite alone. She summons back to life the only friend she ever knew, Clarissa, the dream companion of her childhood. At first Clarissa comes by night, and then by day, gathering substance in the warmth of Agatha's obsessive love until it seems that others too can see her. See, but not touch, for Agatha has made her love child for herself alone. No man may approach her elfin creation of perfect beauty. If he does, the love which summoned her can spirit her away . . . The Love Child (1927) was Edith Olivier's first novel, acknowledged as a minor masterpiece: a perfectly imagined fable and a moving and perceptive portrayal of unfulfilled maternal love.

On a moonlit night, Oliver James finds himself transformed into a werewolf.

"Miles ahead of the average ghost-story" — Sunday Times. A novelist retreats to an abandoned house in the heart of London, where he becomes enthralled by an 18th-century spirit — and where his contact with the outside world gradually diminishes. Acclaimed by such masters as Lovecraft as one of the best ghost stories in the English language.