Friend. Lover. Imposter. Who is Cate Kay?

Cate Kay is the most famous author on the planet. But it's just a name. Somehow, despite her bestselling novels and the record-breaking film franchise, the writer has remained completely anonymous.

Anne Marie Callahan is the name nobody knows. Only the people she left behind. And Annie knows there's no one there anymore who could connect the dots between the girl who ran away all those years ago and the famous novelist.

If you asked, she'd say her name was Cass Ford. That's what her barista shouts each morning. And it's how she introduces herself to the woman she'll eventually call the love of her life.

Three names, three lives. But Cate Kay is finally ready to tell you who she really is. And when the truth is out, will everyone's favourite novelist hold on to her place in our hearts or are some betrayals impossible to forgive?

Kate Fagan is the author of several New York Times bestselling non fiction books. The Three Lives of Cate Kay explores the cost of ambition, the longings of first (and second and third) love, and how it's never too late to go home.

Growing up, Kate Fagan and her father forged their relationship on the basketball court. They were an inseparable pair, two kindred spirits bonded together by sweaty high fives, and an unflappable dedication to the New York Knicks. But as Kate grew older and life added complications to both her love of sport and her role as a daughter, they drifted apart -relying on a yearly pair of matching sneakers to remind each other of their connection. When Christopher, Kate's 6'5" athletic father, was diagnosed with ALS they embarked on a new, entirely uncharted chapter of their relationship. Kate took on the role of full-time caregiver, watching over her father like he had done for her, until his eventual assisted death. And yet while enduring the painful experience of witnessing her idol's rapid deterioration, Kate reconnected with her father to find an even deeper, more meaningful relationship. At its heart, this is a love story between Kate and her dad, the lessons learned, and, ultimately, how his debilitating disease made her reconsider their powerful relationship, along with her own life choices. A perfect meeting of TUESDAYS WITH MORRIE and RUNNING HOME, UNTITLED MEMOIR is written for the women who found their dad on the court, track, pitch, or field. It is an ode to the unbreakable bond between father and daughter and the invaluable understanding they share.

? Kate Fagan and her father forged their relationship on the basketball court, bonded by sweaty high fives and a dedication to the New York Knicks. But as Kate got older, her love of the sport and her closeness with her father grew complicated. The formerly inseparable pair drifted apart. The lessons that her father instilled in her about the game, and all her memories of sharing the court with him over the years, were a distant memory. When Chris Fagan was diagnosed with ALS, Kate decided that something had to change. Leaving a high-profile job at ESPN to be closer to her mother and father and take part in his care, Kate Fagan spent the last year of her father's life determined to return to him the kind of joy they once shared on the court. All the Colors Came Out is Kate Fagan's completely original reflection on the very specific bond that one father and daughter shared, forged in the love of a sport which over time came to mean so much more. Studded with unforgettable scenes of humor, pain and hope, Kate Fagan has written a book that plumbs the mysteries of the unique gifts fathers gives daughters, ones that resonate across time and circumstance.

Kate Fagan's The Long Moment is a gorgeous and brilliant book, a work of complex sensuousness and deep intelligence. Fagan brings to her work the microcosmically precise insights of a geologist or biologist, but the writings are informed also by a strong sense of social history. Each poem, even each page, is a specific site for study, for sentience, and for politics. Observations from everyday life move into sharp focus alongside formal meditations on the act of perception itself. Fagan's compressed lyricism takes stock of the material world, exploring relations between living bodies and things while allowing each to remain distinct and mobile. Poems are lineated to suit the specific pressures and drifts of Fagan's thinking, with issues of sonic and technical control remaining central throughout. The book's `Anti-landscape' sequence gathers several key preoccupations of late twentieth-century Australian poetry and inverts them to offer a new, politically astute mode of geographical address. Overheard fragments from contemporary media sit alongside intimate findings in `The waste of tongues,' creating a narrative that is both calmly persuasive and critically telling. The long moment of this book's details is beautiful; in The Long Moment the site at which they collect has become astoundingly meaningful.