While on vacation in Carmel, a subtropical beach town in Central California, student filmmaker, Eric De la Cruz has little time to unwind before hearing of a banshee at Dearborn Manor who stalks the beaches at night. It's said that her screams foretell death. The following afternoon, Eric encounters a friend in town for a funeral. She invites him, along with five other friends, to stay for an extended weekend. But that very night, the banshee's scream is heard throughout the manor. By the following afternoon, a freak accident claims one life. Everyone in the community, especially those who stay at the manor, are sure that the vengeful ghost of Melissa Dearborn is determined to kill again. But Eric isn't convinced. He finds a threatening letter in a drawer, discovers counterfeit art on display, and a shattered mirror along the beach. With the help of an unlikely friend, Eric and Penny must solve the mystery of the banshee and expose the real killer, or become the lastest victims at Dearborn Manor.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Cammie Laroux is back in Alabama—again. Dragged back to her small town to help her mother recover from surgery while rescuing the family event planning business should be a cinch. Even for a disgraced television chef, right? Wrong. Among the many secrets Cammie’s family’s been hiding is the fact that their historic home is falling down. Oh, and the man hired to restore the house, Grey Harrison, is the same high school and college love of her life who thrashed her heart and dreams ten years ago. Yeah, that guy. Grey, a widower with a young daughter, has never stopped loving Cammie, and when they are face to face once again, the chemistry is off the charts. Cammie may be in full-blown denial, but letting go is no longer in Grey’s vocabulary, even when winning Cammie’s forgiveness and renovating their love may seem like an impossible build even for a master architect and carpenter. As Cammie finds herself forgetting all the reasons she can’t trust Grey or love again, he finds himself remembering all the reasons he wants her to stay with him in Alabama… forever.

Our Seas of Fear and Love is a romance-family saga set primarily in Maine but also in Europe, Boston, and the Southwest. Calm and stormy seas are emblematic of the characters, their influence upon one another, and the conflicts and love expressed among the four main characters – Brigit, Deirdre, Gregory and Étienne Moreau, a man who searches out art treasures to sell to museums. Étienne takes as his partner Deirdre, a dark haired, vivacious beauty he meets during World War II when she was an OSS member and he was head of a Maquis group. Brigit, an extremely attractive red-haired woman and nurse cares for Gregory wounded during the war and who becomes a well-known medical researcher. Gregory and Brigit have fallen in love and plan their marriage. Deirdre then sets her sight on Gregory, ignoring her lover and partner Étienne, and a conflict occurs between the two women. In the end, the effects of love triumph in contrast to vainness that damages self and others as the seas of fear and love engulf all. Reviews “In Our Seas of Fear and Love the characters are well developed and believable as they are interwoven into a story that hits the emotional highs and lows of couples through times of adversity. The story reminds us that even people of high moral standards and values can be corrupted through lust and money. This story will draw you in from the first chapter and keep you reading until the last word. You actually feel as if you are living the story which can only happen when the writing is superb like Cohen’s.” - Bonnie Kaye, M.Ed., Counselor and Author of ManReaders: A Woman’s Guide to Dysfunctional Men “This meticulously crafted novel reads like a family saga, spanning about fifty years. The author weaves the warp of individual characters into the woof of both national and global affairs with great clarity. The tangled love relationships are described with candor. Sharply observed and deeply felt, the narrative plays out against the unifying backdrop of the ocean, which with its changing moods serves as a natural metaphor for the tempestuous changes that occur in history and the lives of individuals. A compelling must read.” - J. Arthur Faber, Professor of English Emeritus, Wittenberg University About the Author Richard Shain Cohen of Cape Elizabeth, Maine, is originally from Boston. He retired from the University of Maine at Presque Isle after serving as Vice President of Academic Affairs and Professor of English. He holds B.S., M.A., and Ph.D. degrees. He served as editor of the journal Husson Review and was principal participant in a National Endowment for the Arts Grant for “Images of Aroostook” that was exhibited throughout the State of Maine. His own publications include: Healing After Dark: Pioneering Compassionate Medicine at the Boston Evening Clinic (2011), The Forgotten Longfellow: Man in the Shadows (2010), Only God Can Make a Tree, poetry from himself and his brother, Alfred Robert Cohen; and the novels Our Seas of Fear and Love, Monday: End of the Week, Be Still, My Soul, and Petal on a Black Bough. He also wrote chapters for Aroostook: Land of Promise, academic reviews, other articles, and – with the help of a Shell Grant – a monograph on Samuel Richardson that can be found in major library holdings.