Labour has been on a wild ride over the past thirty years. New Labour argued that we had no choice but to accept a globalized free market economy in which the race was to the swift, the open and the flexible. Corbynism reacted against this with a jumble of old school statism and identity politics. Both ultimately failed. In this book, Maurice Glasman takes the axe to the soulless utilitarianism and 'progressive' intolerance of both Blair and Corbyn. Human beings, he contends, are not calculating machines, but faithful, relational beings who yearn for meaning and belonging. Rooted in their homes, families and traditions, they seek to resist the revolutionary upheaval of markets and states, which try to commodify and dominate their lives and homes, by the practice of democracy, mutuality and pluralism. This is the true Labour tradition, which is paradoxically both radical and conservative - and more relevant than ever in a post-COVID world. This crisp statement of the real politics of Blue Labour - rather than the absurd caricature of its detractors - is Glasman's love letter to the left-conservatism that provides Labour's best chance of moral - and indeed electoral - redemption.

From a small, bogside cabin in rural New England, 38-year-old Aimee Slater unravels the story of her life, attempting to make sense of the tangled thread that leads from her mother's house-a short, unbridgeable distance away-to the world she now inhabits. It is soon after the Civil War; Aimee lives alone, but is graced with visits from two friends, a crippled man and a troubled eleven-year-old girl. She is perpetually caught between the sensual world she so desires and the divine retribution passed down to her by her mother's scorn. How Aimee ultimately creates a life for herself and bridges that distance makes for a moving story of love and loss. Told in a voice of spare New England lyricism, Unravelling is a remarkably haunting account of the power of redemption.

The author describes his love for Vermont, sharing his thoughts on the history of the region, the reason for the state's live and let live attitude, and how Vermont's free-thinking traditions can survive in the modern world.

The Moral Lives of Israelis explores the last ten years of life in Israel, a sixty-one-year-old country that has never not been in a state of war. It began in David Berlin's head as he sat vigil over his father's deathbed in a falling-down hospital in Tel Aviv. The last words given to him by his father were not words of love for his son and his grandchildren, but this command: "Look after my little country." That note set off a huge voyage of exploration and remembrance for Berlin, who has spent much of the last six years living and reporting in Israel, interviewing his own generation and the new crop of politicians and leaders, and witnessing the Second Lebanon War, the removal of the settlers from Gaza, and other defining events. The result is a thrilling blend of memoir, reportage and original thinking on the place of Israel in the world. The fundamental question that floats over every page of this passionate book is, with so many missteps and in a region deeply fraught with antagonism, racism and misunderstanding, how can Israel move forward? After many dead ends and twists and turns, it is the nineteenth-century visionary father of Zionism, Theodor Herzl, who ultimately sparks Berlin's dream for Israel in the twenty-first century — it is Herzl's insistence on a secular and cosmopolitan state that Berlin sees as a way to move beyond. Berlin's brave inquiry will be a must-read for anyone concerned with the fate of the Middle East — it engages on every level from the deeply emotional to the philosophical, and brings new perspective to a question that resonates well beyond the borders of Israel.

Using "Sex and the single girl" by Helen Gurley Brown as a lesson plan, Anna David ventured out of her comfort zone in the hope of overcoming fears and insecurities that had haunted her for years.

Gathering 25 years work by one of America's most elegant and pertinent poets, this title contains work from eight books, including an excerpt from the erotic verse novel 'Love, Death and the Changing of the Seasons', and a work written in the shadow of hegemonic empire.

"This collection gathers most of Hélène Cixous' texts devoted to contemporary artists, such as the painter Nancy Spero, the photographer Andres Serrano, the visual artist Roni Horn, the fashion designer Sonia Rykiel and the choreographer Karine Saporta, among others. The artworks belong to different genres and media - photography, painting, installations, film, choreography and fashion design - while the commentaries all deal with some of Hélène Cixous' privileged themes: exile, war, violence (against women) and exclusion, as well as love, memory, beauty and tenderness.

"Manhattan is the tale of a young French scholar who travels to the United States in 1965 on a Fulbright Fellowship to consult the manuscripts of beloved authors. In Yale University's Beinecke Library, tantalized by the conversational and epistolary brilliance of a fellow researcher, she is lured into a picaresque and tragic adventure. Meanwhile, back in France, her children and no-nonsense mother await her return. A young European intellectual's first contact with America and the city of New York are the background of this story. The experience of Manhattan haunts this labyrinth of a book as, over a period of thirty-five years, its narrator visits and revisits Central Park and a half-buried squirrel, the Statue of Liberty and a never again to be found hotel in the vicinity of Morningside Heights: a journey into memory in which everything is never the same. Traveling from library to library, France to the United States, Shakespeare to Kafka to Joyce, Manhattan deploys with gusto all the techniques for which Cixous's fiction and essays are known: rapid juxtapositions of time and place, narrative and description, analysis and philosophical reflection. It investigates subjects Cixous has spent her life probing: reading, writing, and the "omnipotence-other" seductions of literature; a family's flight from Nazi Germany and postcolonial Algeria; childhood, motherhood, and, not least, the strange experience of falling in love with a counterfeit genius"--

Yom Kippur A Go-Go is a mind-blowing meeting of pop culture, Orthodox faith, and hipster poetics. Matthue Roth is an American original: an Orthodox Jew who cites Outkast and Michelle Tea among his influences, who won’t touch a light switch on Shabbos but mimics a screaming orgasm onstage while reading his paean to Orthodox girls. From the World Bank riots (what can you do when the revolution starts on Shabbos?) to Thursday night tranny basketball in San Francisco’s Dolores Park, Matthue takes readers on a journey among the queer and hip streets of urban America in his exuberant memoir, Yom Kippur a Go-Go. With humor and insight, Roth describes the tension between contemporary life and the demands of faith. He falls in love and in lust with a panoply of girls, both strictly kosher and determinedly secular, to the accompaniment of MP3 rabbinical lectures on modesty ("Boys are nothing but perverts and filthy animals!”).

"The Old Blue Couch and Other Stories" by Seymour Mayne - A delightful blend of humor & wit, exploring identity & loss. A must-have for lovers of engaging storytelling.

Alive with love and tenderness for his son, his parents, and even strangers in bars late at night, this latest collection by Ames looks beneath the surface of our world to find the beauty in the perverse, the sweetness in loneliness, and the humor in pain.

Poetry. With a voice as familiar as family, Rachel B. Glaser's second book of poems, HAIRDO, hilariously navigates the daily anxieties and fantasies of the writer's path through her own modern life. Writing through action movies, pornography, chat rooms, photo shoots on train tracks, crushes on teachers, and orchids in grocery stores, the poems in this book present us with emotional souvenirs of a curious and honest life lived. Bursting with Glaser's truly unique heart, her mega-watt wit and insightful eye, HAIRDO is a book you will find yourself reading at 3AM, not able to put it down. "I love every single piece of art that Rachel Glaser makes. If she dug a hole I would want to spend time in that hole, because I know it would be just as strange, delightful, and intriguing as her linguistic and pictorial creations. Hooray for HAIRDO, and long live this incomparable maker." -- Heather Christle "Rachel Glaser has shown me the paradise of this world with her poems. Every man, woman and the rest of us need to see ourselves as one another, as puddles, horses, as imperfect, and that is the paradise. And all of that is especially here in her newest book with a tremendous passion anyone who ever loved poetry must come back to life to read. If poetry is dead like some sad, weepy critics have declared, then Glaser is the resurrection the weepy along with her dedicated poetry citizens have needed " --CAConrad

Watching her Russian immigrant mother, Irina, struggle to put food on the table, Nina, a beautiful and restless teenager, vows her life will be different. When a strapping older man in a fancy car appears at school one day offering her luxuries her single mother cannot afford, Nina believes he's her ticket out of her dumpy little town. Ignoring the danger signs and her mother's constant pleas, which end in exhausting screaming matches, she packs a suitcase and leaves home after one last fight. Ten days later, a terrified Nina, her dress torn, is hiding in the stairwell of a Tel Aviv apartment after witnessing a murder she cannot talk about. She is discovered by one of the building's tenants, a confused, lonely old widow who mistakes her for the granddaughter she hasn't seen for a long while, not since her son moved his family to America. "You've come back to me, Dana'le." Instead of correcting the mistake, the desperate Nina jumps at the chance for a place to hide. Hiding from her mother and the dangerous man who are both frantically searching for her, Nina settles into the old woman's apartment. But how long can Nina possibly hide out until the poor woman realizes she's not who she says she is, or before someone else, her homesick son in America who keeps calling, or the lovely local neighbors who drop by with groceries, catches on?

A compelling work of autobiographical fiction, Hélène Cixous's Hemlock weaves tragedy and comedy, narrative and meditation in its exploration of various human attachments: between an elderly but still truculent mother and her writer-daughter, between the mother and her sister, and between the writer and her vanished but nonetheless intensely present friend, Jacques Derrida, whose death is movingly evoked. "I have in mind two lovely faces, old women in bloom," writes the author with a backwards nod to Proust's ‘jeunes filles.' "Here," she says in her preface, "the criss-crossing paths of my mother and my aunt will come to an end at last. When one old flower is left, what becomes of the other face?" Socrates is conjured up, along with the poisonous plants of Hamlet, the human comedies of Balzac and Proust, and other literary and philosophical ghosts who find themselves drawn into the fabric of Cixous's text: "I'm not sleeping," writes the protagonist. "A worm is drilling my brain. It's a phrase I heard in the hellish juice of the jusquiame. I pour it into my own ear. ‘I'm afraid Mama will die'." In this new work Hélène Cixous continues to explore and expand the boundaries of narrative, slipping from thought to thought and from image to image, so as to render every action, fear and thought palpable to the reader.

When she died, in 2009, Anthony Thwaite described U.A. Fanthorpe as a 'smiling subversive with a voice like bird-song'. An encouraging example to all late developers, this particular bird's voice took its time: she didn't become a poet until she was 45. But these examples of her very earliest work show the latent mastery and the rapid development of the craft that would bring her wide critical acclaim and an affectionate general readership. The mysteries of the trade gradually reveal themselves as rooted in a wide and uncensored range of subject-matter, a life-time's love of words, and an intuitive grasp of the mechanics of form and voice. Recognising her role so late, she was a woman in a hurry; there wasn't time for self-consciousness or grandiose notions of 'vocation'. 'A poet, ' she said, 'is a smuggler. He imports things clandestinely which are not supposed to have got through the customs.' Poetry 'happened to me', she would say. Her job? To listen, to pass it on.

Alexei Sayle reveals his true vocation: proprietor of an imaginary sandwich shop. Blending politics, comedy, philosophy and memoir, this is the Godfather of Alternative Comedy at his most anarchic and irresistibly entertaining Alexei Sayle has been telling people he runs a sandwich bar on Gray's Inn Road that doesn't exist since the mid-1970s. From behind this imaginary counter Alexei dispenses wisdom and focaccia to his famous customers as he explores his love of pretending, reveals why he disappeared from our TV screens in the 1990's, lobbies for eleven-hour long episodes of Newsnight and discusses rampant nepotism in coveted careers. And from drawing striking comparisons between capitalism and all-you-can-eat buffets to discussing the hidden depths of Taylor Swift, this flight of fancy packs a surprising punch and will leave you hungry for more.

Lisa Richter's Closer to Where We Began is a diverse collection of poetry that follows the speaker on a path of self-discovery. The collection navigates the tension between memory and imagination, between the personal and the political, and the primacy of sensual, sensory, lived experience. These dream-like poems not only concern themselves with the speaker, but with urban and natural environments, friends, family, and lovers, past and present. The poet explores overlapping/intersecting identities that shape and inform us, celebrating the importance of telling our stories as a means of bringing us closer to our authentic selves.

"The Tashkent-born Russian-American literary critic, editor, essayist, and journalist Vladislav Davidzon has been covering post-Soviet Ukraine for the past ten years, a tumultuous time for that country and the surrounding world. The 2014 "Revolution of Dignity" heralded a tremendous transformation of Ukrainian politics and society that has continued to ripple and reverberate throughout the world. These unprecedented events also wrought a remarkable cultural revolution in Ukraine itself. In late 2015, a year and a half after the 2014 Revolution swept away the presidency of the Moscow-leaning kleptocratic President Viktor Yanukovich, Davidzon and his wife founded a literary journal, The Odessa Review, focusing on newly emergent trends in film, literature, painting, design, and fashion. The journal became an East European cultural institution, publishing outstanding writers in the region and beyond. From his vantage point as a journalist and editor, Davidzon came to observe events and know many of the leading figures in Ukrainian politics and culture, and to write about them for a Western audience. Davidzon later found himself in the center of world events as he became a United States government witness in the Ukraine scandal that shook the presidency of Donald Trump. This eagerly anticipated debut tells the real story of what happened in Ukraine from the keen and resilient perspective of an observer at its center"-- Provided by publisher.

`England', Benjamin Disraeli famously said, `does not love coalitions'. But 2010 saw the first peace-time coalition in Britain since the 1930s. The coalition, moreover, may well not be an aberration. For there are signs that, with the rise in strength of third parties, hung parliaments are more likely to recur than in the past. Perhaps, therefore, the era of single-party majority government, to which we have become accustomed since 1945, is coming to an end. But is the British constitution equipped to deal with coalition? Are alterations in the procedures of parliament or government needed to cope with it? The inter-party agreement between the coalition partners proposes a wide ranging series of constitutional reforms, the most important of which are fixed-term parliaments and a referendum on the alternative vote electoral system, to be held in May 2011. The coalition is also proposing measures to reduce the size of the House of Commons, to directly elect the House of Lords and to strengthen localism. These reforms, if implemented, could permanently alter the way we are governed. This book analyses the significance of coalition government for Britain and of the momentous constitutional reforms which the coalition is proposing. In doing so it seeks to penetrate the cloud of polemic and partisanship to provide an objective analysis for the informed citizen.

"A young bride shuts herself up in a bedroom on her wedding day, refusing to get married. In this moving and humorous look at contemporary Israel and the chaotic ups and downs of love everywhere, her family gathers outside the locked door, not knowing what to do. The bride's mother has lost a younger daughter in unclear circumstances. Her grandmother is hard of hearing, yet seems to understand her better than anyone. A male cousin who likes to wear women's clothes and jewelry clings to his grandmother like a little boy. The family tries an array of unusual tactics to ensure the wedding goes ahead, including calling in a psychologist specializing in brides who change their mind and a ladder truck from the Palestinian Authority electrical company. The only communication they receive from behind the door are scribbled notes, one of them a cryptic poem about a prodigal daughter returning home. The harder they try to reach the defiant woman, the more the despairing groom is convinced her refusal should be respected. But what, exactly, ought to be respected? Is this merely a case of cold feet? A feminist statement? Or a mourning ritual for a lost sister?"--