NEW STATESMAN'S CHILDREN'S BOOK OF THE YEAR! An exquisite story within a story as told by mouse to a cat who wants to eat him...

'Beguiling . . . utterly delightful.' Books for Keeps 'A classic fairy tale with beautiful illustrations.' The Week Junior 'A delicious treat.' Guardian

Brie the mouse is caught in the paws of Gorgonzola the cat, facing certain death. How can he survive? Well, the cheese shop where they live is a source of great inspiration. The cheese labels tell stories of a world beyond their four walls . . . So Brie starts telling a riveting story, of princesses who don't want to be married, of cats that can turn into panthers, of a magical realm deep within a mountain and an extraordinary quest to break a spell.

Children will be dazzled by the extraordinarily detailed illustrations. This promises to be a book to treasure forever.

Introduces Skelton and his work to readers unfamiliar with the poet, gathers together the vibrant strands of existing research, and opens up new avenues for future studies. John Skelton is a central literary figure and the leading poet during the first thirty years of Tudor rule. Nevertheless, he remains challenging and even contradictory for modern audiences. This book aims to provide an authoritative guide to this complex poet and his works, setting him in his historical, religious, and social contexts. Beginning with an exploration of his life and career, it goes on to cover all the major aspects of his poetry, from the literary traditions in which he wrote and the form of his compositions to the manuscript contexts and later reception. SEBASTIAN SOBECKI is Professor of Medieval English Literature and Culture at the University of Groningen; JOHN SCATTERGOOD is Professor (Emeritus) of Medieval and Renaissance English at Trinity College, Dublin. Contributors: Tom Betteridge, Julia Boffey, John Burrow, David Carlson, Helen Cooper, Elisabeth Dutton,A.S.G. Edwards, Jane Griffiths, Nadine Kuipers, Carol Meale, John Scattergood, Sebastian Sobecki, Greg Waite

Two crucial genres of medieval literature are studied in this outstanding collection. The essays in this volume honour the distinguished career of Professor Elizabeth Archibald. They explore two areas that her scholarship has done so much to illuminate: medieval romance, and Arthurian literature. Several chapters examine individual romances, including Emare, Sir Gawain and the Green Knight and the Roman de Silence. Others focus on wider concerns in romances and related works in Middle English, Latin, French, German and Icelandic, from a variety of perspectives. Later chapters consider Arthurian material, with a particular emphasis on hitherto unexamined aspects of Malory's Morte Darthur. It thus, fittingly, reflects the range of linguistic and literary expertise that Professor Archibald has brought to these fields.

Major themes explored are narratives of the disguised prince, and the reinvention of stories for different tastes and periods. These studies cover a wide chronological range and familiar and unfamiliar texts and topics. The disguised prince is a theme linking several articles, from early Anglo-Norman romances through later English ones, like King Edward and the Shepherd, to a late 16th-century recasting of the Havelok story as a Tudor celebration of Gloriana. 'Translation' in its widest sense, the way romance can reinvent stories for different tastes and periods, is anotherrunning theme; the opening introductory article considers the topic of translation theoretically, concerned to stimulate further research on how insular romances were transferred between vernaculars and literary systems, while other essays consider Lovelich's Merlin (a poem translating its Arthurian material to the poet's contemporary London milieu), Chaucer, and Breton lays in England. Contributors: JUDITH WEISS, IVANA DJORDJEVIC, ROSALIND FIELD, MORGAN DICKSON, ELIZABETH ARCHIBALD, AMANDA HOPKINS, ARLYN DIAMOND, PAUL PRICE, W.A. DAVENPORT, RACHEL SNELL, ROGER DALRYMPLE, HELEN COOPER. Selected studies, 'Romance in Medieval England' conference.

New essays on aspects of Gower's poetry, viewed through the lens of the self and beyond. The topics of "selfhood" and "otherness" lie at the heart of these new assessments of John Gower's poetry. The first part of the book, on knowing the self and others, focuses on cognition, brain functions, imagination, and the internal and external factors that affect one's sense of being, from sensation and inner emotive effects within body parts to cosmic perspectives, morality, and theology as voiced by language and storytelling. The second, on the essence of strangers, explores the interconnections of sensation and aesthetics; it also considers kinds of social dysfunction, whether through racial or gender conflict, or religious and political warfare.The final part of the booklooks at social ethics and ethical poets, reassessing two of Gower's perpetual concerns: honest government and honest craft. It considers Gower as a constitutional thinker, whether in terms of law, judicial corruption, or a society of businessmen who would rewrite ethics in terms of business models. It concludes with an examination of the Confessio in the culture of Portugal and Spain. Russell Peck is the John Hall Deane Professor of English at the University of Rochester: R. F. Yeager is Professor of English at the University of West Florida. Contributors: Stephanie L. Batkie, Helen Cooper, Brian W. Gastle, Matthew Giancarlo, Matthew W. Irvin, Yoshiko Kobayashi, Robert J. Meindl, Peter Nicholson, Maura Nolan, Gabrielle Parkin, Russell A. Peck, Ana Saez-Hidalgo, Larry Scanlon, Karla Taylor, Kim Zarins, R.F. Yeager,

The English Romance in Time is a study of English romance across the Middle Ages and the Renaissance. It explores romance motifs - quests and fairy mistresses, passionate heroines and rudderless boats and missing heirs - from the first emergence of the genre in French and Anglo-Norman in the twelfth century down to the early seventeenth. This is a continuous story, since the same romances that constituted the largest and most sophisticated body of secular fiction in the Middle Ages went on to enjoy a new and vibrant popularity at all social levels in black-letter prints as the pulp fiction of the Tudor age. This embedded culture was reworked for political and Reformation propaganda and for the 'writing of England', as well as providing a generous reservoir of good stories and dramatic plots. The different ways in which the same texts were read over several centuries, or the same motifs shifted meaning as understanding and usage altered, provide a revealing and sensitive measure of historical and cultural change. The book accordingly looks at those processes of change as well as at how the motifs themselves work, to offer a historical semantics of the language of romance conventions. It also looks at how politics and romance intersect - the point where romance comes true.
The historicizing of the study of literature is belatedly leading to a wider recognition that the early modern world is built on medieval foundations. This book explores both the foundations and the building. Similarly, generic theory, which previously tended to operate on transhistorical assumptions, is now acknowledging that genre interacts crucially with cultural context - with changing audiences and ideologies and means of dissemination. The generation into which Spenser and Shakespeare were born was the last to be brought up on a wide range of medieval romances in their original forms, and they could therefore exploit their generic codings in new texts aimed at both elite and popular audiences. Romance may since then have lost much of its cultural centrality, but the universal appeal of these same stories has continued to fuel later works from Bunyan's Pilgrim's Progress to C.S. Lewis and Tolkien.

The Long Fifteenth Century is intended as a companion volume to Douglas Gray's ground-breaking Oxford Book of Late Medieval Verse and Prose and incorporates a bibliography of his published writings. Gray's anthology revolutionized critical appreciation of English and Scottish literature of the `long fifteenth century' from the death of Chaucer to the Reformation, but the literature of the period as a whole remains much under-read, undervalued, and under-studied. The contributors to this volume, all leading scholars in the field, bring to the fore the power of underrated writers, restore to the period writings often attributed to other centuries, open up new possibilities in neglected genres, offer radical rereadings of some more familiar works, and demonstrate how closely the literature of the period is bound up with political and social conditions. Written in honour of Douglas Gray, to mark his long and distinguished tenure of the J.R.R. Tolkein Professorship of English Literature and Language at Oxford university, the 15 essays in this volume portray the long fifteenth century as a major period of literature in its own right. They provide a comprehensive survey of fifteenth-century literature in print, from the morality play to the ballad, verse forms to prose romances, including Chaucer, Lydgate, Skelton, and Hoccleve, along with essays on the Middle French Poets and Scottish writings of the period.

Romance studies from the twelfth century to the era of the printed book. From the insular romance of the twelfth century (vital to an understanding of the literary and historical context of medieval English literature) to the era of the printed book, romance challenges generic definition, audience expectation and established scholarly approaches. This third volume of papers from the regular conference on Romance in Medieval England uses a broad range of material and methodologies to illuminate the subject. Topics include the strategies and audiences of crusading romances, the deployment by Chaucer and Gower of romance theme and style, a re-evaluation of the text of Gamelyn, and the shifting generic boundaries between romance, exemplum and legal narrative. Other papers explore the transformation of traditional material on the revenant dead and the divided family from ancient literary texts to the prose romances of the sixteenth century. Dr ROSALIND FIELD teachesin the Department of English at Royal Holloway, University of London. Contributors: JUDITH WEISS, STEPHEN KNIGHT, NOEL JAMES MENUGE, DIANE SPEED, ELIZABETH WILLIAMS, PHILLIPA HARDMAN, ROBERT WARM, JOERG FICHTE, NANCY MASON BRADBURY, JEREMY DIMMICK, ELIZABETH ARCHIBALD, HELEN COOPER

A wide-ranging collection on one of the most interesting features of medieval romance. Medieval romance frequently, and perhaps characteristically, capitalises on the dramatic and suggestive possibilities implicit in boundaries - not only the geographical, political and cultural frontiers that medieval romances imagine and imply, but also more metaphorical demarcations. It is these boundaries, as they appear in insular romances circulating in English and French, which the essays in this volume address. They include the boundary between reality and fictionality; boundaries between different literary traditions, modes and cultures; and boundaries between different kinds of experience or perception, especially the "altered states" associated with sickness, magic, the supernatural, or the divine. CONTRIBUTORS: HELEN COOPER, ROSALIND FIELD, MARIANNE AILES, PHILLIPA HARDMAN, ELIZABETH BERLINGS, SIMON MEECHAM-JONES, ELIZABETH WILLIAMS, ARLYN DIAMOND, ROBERT ROUSE, LAURA ASHE, JUDITH WEISS, IVANA DJORDJEVIC, CORINNE SAUNDERS

From first steps to final submission, this accessible guide takes students through each stage of the assignment-writing process and equips them with the skills they need to construct and develop convincing academic arguments. Concise and compact, it offers practical advice on forming ideas, structuring arguments and finding your academic voice. The authors, both of whom are experienced in working directly with students, also provide valuable guidance on a number of important subtleties in academic writing, including expressing reservations or enthusiasm in academic writing and using evidence to convey different viewpoints. The second edition contains new material on synthesizing ideas from different sources, as well as more varied examples of what 'finding your academic voice means' in the context of different assignments, including blogs and observations. Applicable to different types of assignment, this is an essential resource for all undergraduates and postgraduates who are looking to communicate their arguments effectively and improve the quality of their academic writing.

The first interdisciplinary enquiry into a key figure in medieval and early modern culture. Guy of Warwick is England's other Arthur. Elevated to the status of national hero, his legend occupied a central place in the nation's cultural heritage from the Middle Ages to the modern period. Guy of Warwick: Icon and Ancestor spans the Guy tradition from its beginnings in Anglo-Norman and Middle English romance right through to the plays and prints of the early modern period and Spenser's Faerie Queene, including the visual tradition in manuscript illustration and material culture as well as the intersection of the legend with local and national history. This volume addresses important questions regarding the continuities and remaking of romance material, and therelation between life and literature. Topics discussed are sensitive to current critical concerns and include translation, reception, magnate ambition, East-West relations, the construction of "Englishness" and national identity,and the literary value of "popular" romance. ALISON WIGGINS is Lecturer in English Language at the University of Glasgow; ROSALIND FIELD is Reader in Medieval Literature at Royal Holloway, University of London. Note on ebook images: Due to limited rights we are unable to make all images in this book available in the ebook version. If you'd like to purchase the ebook regardless, please email us on [email protected] to obtain a PDF of the images. We apologise for the inconvenience caused. CONTRIBUTORS: JUDITH WEISS, MARIANNE AILES, IVANA DJORDJEVIC, ROSALIND FIELD, ALISON WIGGINS, A.S.G. EDWARDS, ROBERT ALLEN ROUSE, DAVID GRIFFITH, MARTHA W. DRIVER, SIAN ECHARD, ANDREW KING, HELEN COOPER

Journalist Helene Cooper examines the violent past of her home country Liberia and the effects of its 1980 military coup in this deeply personal memoir and finalist for the 2008 National Book Critics Circle Award.
Helene Cooper is "Congo," a descendant of two Liberian dynasties--traced back to the first ship of freemen that set sail from New York in 1820 to found Monrovia. Helene grew up at Sugar Beach, a twenty-two-room mansion by the sea. Her childhood was filled with servants, flashy cars, a villa in Spain, and a farmhouse up-country. It was also an African childhood, filled with knock foot games and hot pepper soup, heartmen and neegee. When Helene was eight, the Coopers took in a foster child--a common custom among the Liberian elite. Eunice, a Bassa girl, suddenly became known as "Mrs. Cooper's daughter."
For years the Cooper daughters--Helene, her sister Marlene, and Eunice--blissfully enjoyed the trappings of wealth and advantage. But Liberia was like an unwatched pot of water left boiling on the stove. And on April 12, 1980, a group of soldiers staged a coup d'etat, assassinating President William Tolbert and executing his cabinet. The Coopers and the entire Congo class were now the hunted, being imprisoned, shot, tortured, and raped. After a brutal daylight attack by a ragtag crew of soldiers, Helene, Marlene, and their mother fled Sugar Beach, and then Liberia, for America. They left Eunice behind.
A world away, Helene tried to assimilate as an American teenager. At the University of North Carolina at Chapel Hill she found her passion in journalism, eventually becoming a reporter for the "Wall Street Journal" and the "New York Times." She reported from every part of the globe--except Africa--as Liberia descended into war-torn, third-world hell.
In 2003, a near-death experience in Iraq convinced Helene that Liberia--and Eunice--could wait no longer. At once a deeply personal memoir and an examination of a violent and stratified country, "The House at Sugar Beach" tells of tragedy, forgiveness, and transcendence with unflinching honesty and a survivor's gentle humor. And at its heart, it is a story of Helene Cooper's long voyage home.

New essays on Chaucer's engagement with religion and the religious controversies of the fourteenth century. How do critics, religious scholars and historians in the early twenty-first century view Chaucer's relationship to religion? And how can he be taught and studied in an increasingly secular and multi-cultural environment? The essays here, on [the Canterbury Tales, Troilus and Criseyde, lyrics and dream poems, aim to provide an orientation on the study of the the religions, the religious traditions and the religious controversies of his era - and to offer new perspectives upon them. Using a variety of theoretical, critical and historical approaches, they deal with topics that include Chaucer in relation to lollardy, devotion to the saint and the Virgin Mary, Judaism andIslam, and the Bible; attitudes towards sex, marriage and love; ethics, both Christian and secular; ideas on death and the Judgement; Chaucer's handling of religious genres such as hagiography and miracles, as well as other literary traditions - romance, ballade, dream poetry, fablliaux and the middle ages' classical inheritance - which pose challenges to religious world views. These are complemented by discussion of a range of issues related to teachingChaucer in Britain and America today, drawn from practical experience. Contributors: Anthony Bale, Alcuin Blamires, Laurel Broughton, Helen Cooper, Graham D. Caie, Roger Dalrymple, Dee Dyas, D. Thomas Hanks Jr., Stephen Knight, Carl Phelpstead, Helen Phillips, David Raybin, Sherry Reames, Jill Rudd.

'An eerie and atmospheric mystery that kept me guessing from start to finish' Allie Reynolds, author of Shiver One year ago, Leah's twenty-one-year-old niece, Amy, mysteriously drowned near her family-owned luxury resort on the shores of Lake Garda. Now, returning to Italy for the first time since Amy's death, Leah is shocked to find her family seem to have erased all reminders of Amy. Despite the murky circumstances, they insist her death was an accident but Leah knows she must look deeper if she is to uncover the truth. Meanwhile, in Derby, university counsellor Joanna is recovering from a surprising break-up when she is swept off her feet by a handsome bartender. But after she invites him into her home, Joanna is forced to accept that she doesn't know him as well as she thought. What follows is a propulsive game of cat-and mouse as both women begin to realise that appearances can be deceptive - and that the darkest secrets often lie closest to home.

The invitation was delivered by bees. It wasn t addressed to anyone at all, but Ben knew it was for him. It would lead him to an old, shambolic museum, full of strange and bewitching creatures. A peculiar world of hidden mysteries and curious family secrets . . . and some really dangerous magic. Filled with her own wonderful illustrations, The Hippo at the End of the Hall is Helen Cooper's debut novel.

Essays examining the genre of medieval romance in its cultural Christian context, bringing out its chameleon-like character. The relationship between the Christianity of medieval culture and its most characteristic narrative, the romance, is complex and the modern reading of it is too often confused. Not only can it be difficult to negotiate the distant, sometimes alien concepts of religious cultures of past centuries in a modern, secular, multi-cultural society, but there is no straightforward Christian context of Middle English romance - or of medieval romance in general, although this volume focuses on the romances of England. Medieval audiences had apparently very different expectations and demands of their entertainment: some looking for, and evidently finding, moral exempla and analogues of biblical narratives, others secular, even sensational, entertainment of a type condemned by moralising voices. The essays collected here show how the romances of medieval England engage with its Christian culture. Topics include the handling of material from pre-Christian cultures, classical and Celtic, the effect of the Crusades, the meaning of chivalry, and the place of women in pious romances. Case studies, including Sir Gawain and the Green Knight and Malory's Morte Darthur, offer new readings and ideas for teaching romance to contemporary students. They do not present a single view of a complex situation, but demonstrate the importance of reading romances with anawareness of the knowledge and cultural capital represented by Christianity for its original writers and audiences. Contributors: HELEN PHILLIPS, STEPHEN KNIGHT, PHILLIPA HARDMAN, MARIANNE AILES, RALUCA L. RADULESCU, CORINNE SAUNDERS, K.S. WHETTER, ANDREA HOPKINS, ROSALIND FIELD, DEREK BREWER, D. THOMAS HANKS, MICHELLE SWEENEY

Essays exploring Chaucer's identity as a London poet and the urban context for his writings. Literature of the city and the city in literature are topics of major contemporary interest. This volume enhances our understanding of Chaucer's iconic role as a London poet, defining the modern sense of London as a city in history, steeped in its medieval past. Building on recent work by historians on medieval London, as well as modern urban theory, the essays address the centrality of the city in Chaucer's work, and of Chaucer to a literature and a language of the city. Contributors explore the spatial extent of the city, imaginatively and geographically; the diverse and sometimes violent relationships between communities, and the use of language to identify and speak for communities; the worlds of commerce, the aristocracy, law, and public order. A final section considers the longer history and memory of the medieval city beyond the devastations of the Great Fire and into the Victorian period. Dr ARDIS BUTTERFIELD is Reader in English at University College London. Contributors: ARDIS BUTTERFIELD, MARION TURNER, RUTH EVANS, BARBARA NOLAN, CHRISTOPHER CANNON, DEREK PEARSALL, HELEN COOPER, C. DAVID BENSON, ELLIOTKENDALL, JOHN SCATTERGOOD, PAUL DAVIS, HELEN PHILLIPS

What's cooking in the old white cabin?

Pumpkin soup, the best you ever tasted!

Cat, Squirrel and Duck are three friends who make pumpkin soup together every day. They always do it the same way, until little Duck thinks he's got a better idea...

'Both a musical comedy and a visual feast...

The trio are outrageously attractive characters'

THE TIMES EDUCATIONAL SUPPLEMENT

'A highly inventive, witty slant on...friendship and sharing which children of ages three and up will adore'

THE BOOKSELLER

Winner of the Kate Greenaway Medal and shortlisted for the Kurt Maschler Award

From the author/illustrator of THE BABY WHO WOULDN'T GO TO BED, winner of the Kate Greenaway Medal 1997

From twice-Kate Greenaway WINNER comes an exquisite story within a story, featuring a mouse who is forced to tell stories to save his life, a cat who plans to eat said mouse as soon as the story is finished, and our protagonist's protagonist, a princess in trouble. Gorgonzola watched Brie with her tail twitching . . . then she pounced. Brie the mouse is caught between the claws of Gorgonzola the cat. Desperate to survive, Brie starts telling Gorgonzola a story . . . It's a showstopping tale - about a runaway princess, a cat that can grow to the size of a panther, an enchanted feast, a vanishing cavern and a quest to find a magical herb . . . But Gorgonzola is getting hungry . . . If Brie wants his life to be spared, this must be the best story he has ever told. A dazzling story within a story that you won't be able to put down and accompanied with stunning interior art..

'The unrelenting tension of this well-crafted debut kept me whizzing through the book . . . I loved the tension, the secrets and the satisfying, unexpected conclusion' KL Slater In a converted Georgian townhouse in south west London, three families live under one roof. The large flat that takes up the top two floors is home to the Harlow family: happily married Paul and Steph, and their bubbly teenage daughter Freya. The smaller first floor flat is rented by Emma, who spends most of her time alone, listening to people coming in and out of the building. And the basement flat belongs to Chris, a local driving instructor, who prefers to keep his personal life private from the neighbours. But their lives are all upended when Freya vanishes. As the police become involved and a frantic Paul and Steph desperately search for answers, they begin to realise that the truth behind their daughter's disappearance may lie closer to home than they were expecting. When everyone has something to hide, can you ever really know those closest to you? Or will some secrets be taken to the grave?

By the Kate Greenaway Medalist Deep in the woods in an old white cabin, three friends make their pumpkin soup the same way every day. The Cat slices up the pumpkin, the Squirrel stirs in the water, and the Duck tips in just enough salt. But one day the Duck wants to stir instead, and then there is a horrible squabble, and he leaves the cabin in a huff. It isn't long before the Cat and the Squirrel start to worry about him and begin a search for their friend. Rendered in pictures richly evoking autumn, Helen Cooper's delightful story will resonate for an child who has known the difficulties that come with friendship. Included at the end is a recipe for delicious pumpkin soup.

Analysis of how emotion is pictured in Arthurian legend. Literary texts complicate our understanding of medieval emotions; they not only represent characters experiencing emotion and reaction emotionally to the behaviour of others within the text, but also evoke and play upon emotion inthe audiences which heard these texts performed or read. The presentation and depiction of emotion in the single most prominent and influential story matter of the Middle Ages, the Arthurian legend, is the subject of this volume.Covering texts written in English, French, Dutch, German, Latin and Norwegian, the essays presented here explore notions of embodiment, the affective quality of the construction of mind, and the intermediary role of the voice asboth an embodied and consciously articulating emotion. FRANK BRANDSMA teaches Comparative Literature (Middle Ages) at Utrecht University; CAROLYNE LARRINGTON is Professor of Medieval European Literature at the University of Oxford and Official Fellow in Medieval English Literature at St John's College, Oxford; CORINNE SAUNDERS is Professor of Medieval Literature in the Department of English Studies and Co-Director of the Centre for Medical Humanities at the University of Durham. Contributors: Anne Baden-Daintree, Frank Brandsma, Helen Cooper, Anatole Pierre Fuksas, Jane Gilbert, Carolyne Larrington, Andrew Lynch, Raluca Radulescu, Sif Rikhardsdottir, Corinne Saunders.

Analysis of how emotion is pictured in Arthurian legend. Literary texts complicate our understanding of medieval emotions; they not only represent characters experiencing emotion and reaction emotionally to the behaviour of others within the text, but also evoke and play upon emotion inthe audiences which heard these texts performed or read. The presentation and depiction of emotion in the single most prominent and influential story matter of the Middle Ages, the Arthurian legend, is the subject of this volume.Covering texts written in English, French, Dutch, German, Latin and Norwegian, the essays presented here explore notions of embodiment, the affective quality of the construction of mind, and the intermediary role of the voice asboth an embodied and consciously articulating emotion. Frank Brandsma teaches Comparative Literature (Middle Ages) at Utrecht University; Carolyne Larrington is a Fellow in medieval English at St John's College, Oxford;Corinne Saunders is Professor of Medieval Literature in the Department of English Studies and Co-Director of the Centre for Medical Humanities at the University of Durham. Contributors: Anne Baden-Daintree, Frank Brandsma, Helen Cooper, Anatole Pierre Fuksas, Jane Gilbert, Carolyne Larrington, Andrew Lynch, Raluca Radulescu, Sif Rikhardsdottir, Corinne Saunders,

'The unrelenting tension of this well-crafted debut kept me whizzing through the book . . . I loved the tension, the secrets and the satisfying, unexpected conclusion' KL Slater In a converted Georgian townhouse in south west London, three families live under one roof. The large flat that takes up the top two floors is home to the Harlow family: happily married Paul and Steph, and their bubbly teenage daughter Freya. The smaller first floor flat is rented by Emma, who spends most of her time alone, listening to people coming in and out of the building. And the basement flat belongs to Chris, a local driving instructor, who prefers to keep his personal life private from the neighbours. But their lives are all upended when Freya vanishes. As the police become involved and a frantic Paul and Steph desperately search for answers, they begin to realise that the truth behind their daughter's disappearance may lie closer to home than they were expecting. When everyone has something to hide, can you ever really know those closest to you? Or will some secrets be taken to the grave?