Cole Hunter had no memory of who he was or where hecame from. Why did nothing or no one seem familiar—except Megan Wells? And why did memories of passionatenights in her arms flash through his mind at the sightof her?Grieving widow Megan Wells didn't believe Cole couldbe her late husband, yet he seemed to know everythingabout their life together. Soon she couldn't deny thepassion she felt in the stranger's arms…or the safety.Could this mystery man possibly be the man she'd lovedand lost—and hoped to love again?

A moving portrait of a father and daughter relationship and a case for late-stage creativity from Emily Urquhart, the bestselling author of Beyond the Pale: Folklore, Family, and the Mystery of Our Hidden Genes. “The fundamental misunderstanding of our time is that we belong to one age group or another. We all grow old. There is no us and them. There was only ever an us.” — from The Age of Creativity It has long been thought that artistic output declines in old age. When Emily Urquhart and her family celebrated the eightieth birthday of her father, the illustrious painter Tony Urquhart, she found it remarkable that, although his pace had slowed, he was continuing his daily art practice of drawing, painting, and constructing large-scale sculptures, and was even innovating his style. Was he defying the odds, or is it possible that some assumptions about the elderly are flat-out wrong? After all, many well-known visual artists completed their best work in the last decade of their lives, Turner, Monet, and Cézanne among them. With the eye of a memoirist and the curiosity of a journalist, Urquhart began an investigation into late-stage creativity, asking: Is it possible that our best work is ahead of us? Is there an expiry date on creativity? Do we ever really know when we’ve done anything for the last time? The Age of Creativity is a graceful, intimate blend of research on ageing and creativity, including on progressive senior-led organizations, such as a home for elderly theatre performers and a gallery in New York City that only represents artists over sixty, and her experiences living and travelling with her father. Emily Urquhart reveals how creative work, both amateur and professional, sustains people in the third act of their lives, and tells a new story about the possibilities of elder-hood.

In this book, Megan Cassidy-Welch challenges the notion that using memories of war to articulate and communicate collective identity is exclusively a modern phenomenon. War and Memory at the Time of the Fifth Crusade explores how and why remembering war came to be culturally meaningful during the early thirteenth century. By the 1200s, discourses of crusading were deeply steeped in the language of memory: crusaders understood themselves to be acting in remembrance of Christ’s sacrifice and following in the footsteps of their ancestors. At the same time, the foundational narratives of the First Crusade began to be transformed by vernacular histories and the advent of crusading romance. Examining how the Fifth Crusade was remembered and commemorated during its triumphs and immediately after its disastrous conclusion, Cassidy-Welch brings a nuanced perspective to the prevailing historiography on war memory, showing that remembering war was significant and meaningful centuries before the advent of the nation-state. This thoughtful and novel study of the Fifth Crusade shows it to be a key moment in the history of remembering war and provides new insights into medieval communication. It will be invaluable reading for scholars interested in the Fifth Crusade, medieval war memory, and the use of war memory.

Even though she thinks Caleb's mom blames her for his accidental death two months ago, Jessa agrees to pack up her ex-boyfriend's bedroom, but every item she touches makes Jessa question what she knows about his death, his family, and their year-long relationship.

Originally published in hardcover in 2021 by Aladdin.

Megan Melvick has spent years avoiding her inheritance, the dark and disquieting family estate Benbrae, now home only to her distant, aristocratic father, and her sister Melissa, dying quietly in an upstairs bedroom. Trapped behind her unreliable hearing aids and vulnerable to what others want her to see, Megan is unable to find the answers she wants: why is there a new woman on her father’s arm? And why has their absent mother not returned to say a final goodbye to Melissa? Benbrae has always been a place of loss and misfortune for Megan, but as the Melvick family diminishes still further, she must ask one final question. If there is a curse on the house, will she be its next victim?

"A hybrid memoir-in-essays with photographs that confronts the realities of growing up as an adoptee born before Roe v. Wade, searching for birth records, examining the Domecon baby experiments, and interrogating the idea of traumatic memory itself"--