**NOW A MAJOR TV DRAMA SERIES** 'A gentle comic crime story' The Guardian 'Poised and perceptive' Sunday Times 'a beautiful piece of writing with a great story and fantastic, full bodied characters. All this with glorious West Cork as its setting...irresistible.' Kathy Burke '... a deftly plotted story as moving as it is compelling' Sunday Mirror 'Deeply accomplished ... brilliantly observed' Good Housekeeping '... one of the more authentic debuts I've read in recent years ... in such an understated manner, eschewing linguistic eccentricity ... in favour of genuine characters and tender feeling ... this is a fine novel' John Boyne, Irish Times 'It's funny and wonderfully perceptive' Wendy Holden 'It is beautiful and yet devastatingly sad' Daily Express 'Strenuously charming ... surprisingly tender' Metro 'Heartwarming and observant' Stylist The remote Irish village of Duneen has known little drama; and yet its inhabitants are troubled. Sergeant PJ Collins hasn't always been this overweight; mother of two Brid Riordan hasn't always been an alcoholic; and elegant Evelyn Ross hasn't always felt that her life was a total waste. So when human remains are discovered on an old farm, suspected to be that of Tommy Burke - a former love of both Brid and Evelyn - the village's dark past begins to unravel. As the frustrated PJ struggles to solve a genuine case for the first time in his life, he unearths a community's worth of anger and resentments, secrets and regret. Darkly comic, touching and at times profoundly sad. Graham Norton employs his acerbic wit to breathe life into a host of lovable characters, and explore - with searing honesty - the complexities and contradictions that make us human.

The new novel from bestselling author Graham Norton.

Carol is a divorced teacher living in a small town in Ireland, her only son now grown. A second chance at love brings her unexpected connection and belonging. The new relationship sparks local speculation: what does a woman like her see in a man like that? What happened to his wife who abandoned them all those years ago? But the gossip only serves to bring the couple closer.

When Declan becomes ill, things start to fall apart. His children are untrusting and cruel, and Carol is forced to leave their beloved home with its worn oak floors and elegant features and move back in with her parents.

Carol's mother is determined to get to the bottom of things, she won't see her daughter suffer in this way. It seems there are secrets in Declan's past, strange rumours that were never confronted and suddenly the house they shared takes on a more sinister significance.

In his tense and darkly comic new novel Norton casts a light on the relationship between mothers and daughters, and truth and self-preservation with unnerving effect.

Hailed as "absolutely the best reference book on its subject" by Newsweek, American Musical Theatre: A Chronicle covers more than 250 years of musical theatre in the United States, from a 1735 South Carolina production of Flora, or Hob in the Well to The Addams Family in 2010. Authors Gerald Bordman and Richard Norton write an engaging narrative blending history, critical analysis, and lively description to illustrate the transformation of American musical theatre through such incarnations as the ballad opera, revue, Golden Age musical, rock musical, Disney musical, and, with 2010's American Idiot, even the punk musical.
The Chronicle is arranged chronologically and is fully indexed according to names of shows, songs, and people involved, for easy searching and browsing. Chapters range from the "Prologue," which traces the origins of American musical theater to 1866, through several "intermissions" (for instance, "Broadway's Response to the Swing Era, 1937-1942") and up to "Act Seven," the theatre of the twenty-first century. This last chapter covers the dramatic changes in musical theatre since the last edition published-whereas Fosse, a choreography-heavy revue, won the 1999 Tony for Best Musical, the 2008 award went to In the Heights, which combines hip-hop, rap, meringue and salsa unlike any musical before it. Other groundbreaking and/or box-office-breaking shows covered for the first time include Avenue Q, The Producers, Billy Elliot, Jersey Boys, Monty Python's Spamalot, Wicked, Hairspray, Urinetown the Musical, and Spring Awakening.
Discussion of these shows incorporates plot synopses, names of principal players, descriptions of scenery and costumes, and critical reactions. In addition, short biographies interspersed throughout the text colorfully depict the creative minds that shaped the most influential musicals. Collectively, these elements create the most comprehensive, authoritative history of musical theatre in this country and make this an essential resource for students, scholars, performers, dramaturges, and musical enthusiasts.

Gabby en haar niggie Georgia lyk baie na mekaar met hulle krullerige hare, hoe wangbene en vol lippe, en toe hulle jonger was, was hulle onafskeidbaar. Maar iewers het hulle vreemdelinge vir mekaar geword en al wat hulle nou in gemeen het, is die bloed in hulle are. Toe die matriekgroep van Barkley-Wes op 'n toer na Kaapstad vertrek, ontdek Gabby dat Georgia se dagboek in haar rugsak is. Hulle ma's het vir hulle identiese blou dagboeke vir hulle verjaarsdae gekoop, en hulle deel 'n kamer, so dit kon maklik gebeur het dat sy die verkeerde dagboek ingepak het. Dit beteken waarskynlik ook dat haar dagboek in Georgia se besit is. Kort voor lank kry Gabby se nuuskierigheid die oorhand en begin sy Georgia se dagboek lees. Wanneer Georgia daarvan uitvind, breek 'n volskaalse niggie-oorlog uit wat nie eens Kaapstad se besienswaardighede of hulle vriende se pogings om raad te gee, kan keer nie. Gaan Gabby se verraad die niggies nog verder uitmekaar dryf of sal dit dalk daartoe lei dat hulle mekaar beter begin verstaan?

Many readers are convinced that the Psalms are hopelessly "masculine," especially given that seventy-three of the 150 psalms begin with headings linking them to King David. In this volume, Denise Dombkowski Hopkins sets stories about women in the Hebrew Bible alongside Psalms 42-89 as "intertexts" for interpretation. The stories of women such as Hannah, Rahab, Tamar, Bathsheba, Susanna, Judith, Shiphrah, Puah, and the Levite's concubine can generate a different set of associations for psalm metaphors than have traditionally been put forward. These different associations can give the reader different views of the dynamics of power, gender, politics, religion, family, and economics in ancient Israel and in our lives today that might help to name and transform the brokenness of our world. From the Wisdom Commentary series Feminist biblical interpretation has reached a level of maturity that now makes possible a commentary series on every book of the Bible. It is our hope that Wisdom Commentary, by making the best of current feminist biblical scholarship available in an accessible format to ministers, preachers, teachers, scholars, and students, will aid all readers in their advancement toward God's vision of dignity, equality, and justice for all. The aim of this commentary is to provide feminist interpretation of Scripture in serious, scholarly engagement with the whole text, not only those texts that explicitly mention women. A central concern is the world in front of the text, that is, how the text is heard and appropriated by women. At the same time, this commentary aims to be faithful to the ancient text, to explicate the world behind the text, where appropriate, and not impose contemporary questions onto the ancient texts. The commentary addresses not only issues of gender (which are primary in this project) but also those of power, authority, ethnicity, racism, and classism, which all intersect. Each volume incorporates diverse voices and differing interpretations from different parts of the world, showing the importance of social location in the process of interpretation and that there is no single definitive feminist interpretation of a text.

The fourth outing in the popular espionage action thriller franchise based on the Jason Bourne novels by Robert Ludlum. Written and directed by Tony Gilroy, who scripted the first three films, the film moves away from the central Bourne character (played in the opening trilogy by Matt Damon) to focus on a new protagonist, CIA operative Aaron Cross (Jeremy Renner). The film, which takes up events where 'The Bourne Ultimatum' left off, sees Cross making the vow to give himself over completely to 'the operation', and quickly proving himself to be the shining star in a new generation of deadly undercover assassins. Rachel Weisz and Edward Norton co-star, while pivotal roles from the previous films are reprised by Joan Allen, David Strathairn, Albert Finney and Scott Glenn.