A young wife following her heart. A husband with the law on his side. Their daughter, caught in the middle. Forty years later, a family secret changes everything in this “perfect” (Elin Hilderbrand) debut novel.

1982. Dawn is a young mother, still adjusting to life with her husband, when Hazel lights up her world like a torch in the dark. Theirs is the kind of connection that’s impossible to resist, and suddenly life is more complicated, and more joyful, than Dawn ever expected. But she has responsibilities and commitments. She has a daughter.

2022. Heron has just received news from his doctor that turns everything upside down. He’s an older man, stuck in the habits of a quiet existence. Telling Maggie, his only child—the person around whom his life has revolved—seems impossible. Heron can’t tell her about his diagnosis, just as he can’t reveal all the other secrets he’s been keeping from her for so many years.

A Family Matter is a heartbreaking and hopeful exploration of love and loss, intimacy and injustice, custody and care, and whether it is possible to heal from the wounds of the past in the changed world of today.

For fans of The Lost Apothecary or the Mermaid and Mrs Hancock, a deliciously atmospheric historical novel about the rivalry between two female mediums during Victorian London’s obsession with Spiritualism.

Mrs. Violet Wood is London’s premier medium, a woman of supreme ambition whose unique abilities have earned her the admiration and trust of London’s elite. Mrs. Wood is indeed a clever and gifted seer—her skill is unmatched in predicting exactly what her wealthy patrons want to hear from the beyond.

But times are changing. First, a nosey newspaperman has begun working to expose false mediums across London. Many of Mrs. Wood’s friends—and, yes, some of her foes—have fallen to his merciless accusations. Worse yet, though Mrs. Wood’s monthly séance tables are still packed, she’s noticed that it’s been harder to snare coveted new patrons. There are rumors from America of mediums materializing full spirits. . . . How long will her audiences be content with quivering tables and candle theatrics?

Then, at one of Mrs Wood’s routine gatherings, she hears that most horrifying of sounds—a yawn. When a sweet girl with an uncanny talent for the craft turns up at her door, Mrs. Wood decides that a protégé will be just the thing to spice up her brand. But is Emmie Finch indeed the naïve ingenue she appears? Or has Mrs. Wood’s own downfall come knocking at last?

Translated by Constance Garnett with an Introduction and Notes by Dr Keith Carabine, University of Kent at Canterbury. Crime and Punishment is one of the greatest and most readable novels ever written. From the beginning we are locked into the frenzied consciousness of Raskolnikov who, against his better instincts, is inexorably drawn to commit a brutal double murder. From that moment on, we share his conflicting feelings of self-loathing and pride, of contempt for and need of others, and of terrible despair and hope of redemption: and, in a remarkable transformation of the detective novel, we follow his agonised efforts to probe and confront both his own motives for, and the consequences of, his crime. The result is a tragic novel built out of a series of supremely dramatic scenes that illuminate the eternal conflicts at the heart of human existence: most especially our desire for self-expression and self-fulfilment, as against the constraints of morality and human laws; and our agonised awareness of the world's harsh injustices and of our own mortality, as against the mysteries of divine justice and immortality.

Para Handy has been sailing his way into the affections of generations of Scots since he first weighed anchor in the pages of the Glasgow Evening News in 1905. The master mariner and his crew - Dougie the mate, Macphail the engineer, Sunny Jim and the Tar - all play their part in evoking the irresistible atmosphere of a bygone age when puffers sailed between West Highland ports and the great city of Glasgow. This definitive edition contains all three collections published in the author's lifetime, as well as those that were unpublished and a new story which was discovered in 2001. Extensive notes accompany each story, providing fascinating insights into colloquialisms, place-names and historical events. This volume also includes a wealth of contemporary photographs, depicting the harbours, steamers and puffers from the age of the Vital Spark.

Considered by many to be the iconic French memoirist's defining work, The Years is a narrative of the period 1941 to 2006 told through the lens of memory, impressions past and present, cultural habits, language, photos, books, songs, radio, television, advertising and news headlines. Annie Ernaux invents a form that is subjective and impersonal, private and communal, and a new genre - the collective autobiography - in order to capture the passing of time. At the confluence of autofiction and sociology, The Years is 'a Remembrance of Things Past for our age of media domination and consumerism' (New York Times), a monumental account of twentieth-century French history as refracted through the life of one woman.

Translated by Constance Garnett, with an Introduction by A. D. P. Briggs. As Fyodor Karamazov awaits an amorous encounter, he is violently done to death. The three sons of the old debauchee are forced to confront their own guilt or complicity. Who will own to parricide? The reckless and passionate Dmitri? The corrosive intellectual Ivan? Surely not the chaste novice monk Alyosha? The search reveals the divisions which rack the brothers, yet paradoxically unite them. Around the writhings of this one dysfunctional family Dostoevsky weaves a dense network of social, psychological and philosophical relationships. At the same time he shows - from the opening 'scandal' scene in the monastery to a personal appearance by an eccentric Devil - that his dramatic skills have lost nothing of their edge. The Karamazov Brothers, completed a few months before Dostoevsky's death in 1881, remains for many the high point of his genius as novelist and chronicler of the modern malaise. It cast a long shadow over D. H. Lawrence, Thomas Mann, Albert Camus, and other giants of twentieth-century European literature.