The House With Round Windows

A personal, poetic counterpoint to the work of W.D. Snodgrass. The poems of W. D. Snodgrass, based on events from his troubled family life--particularly the death of a beloved sister--directly influenced Robert Lowell, Anne Sexton, Sylvia Plath, and changed mid-twentieth century American poetry. Now his younger brother, Richard Snodgrass, who experienced those family events as well, masterfully weaves a counterpoint of personal stories, family history, and his own photographs into his work that reminds the reader that there are many sides to any story, that every unhappy family is unhappy in its way, and--perhaps most terrible of all--that everyone has their reasons.

A vivid, unforgettable story of an unlikely sisterhood—an emotionally powerful and haunting tale of friendship that illuminates the plight of women in a traditional culture—from the author of the bestselling The Pearl That Broke Its Shell and When the Moon Is Low. For two decades, Zeba was a loving wife, a patient mother, and a peaceful villager. But her quiet life is shattered when her husband, Kamal, is found brutally murdered with a hatchet in the courtyard of their home. Nearly catatonic with shock, Zeba is unable to account for her whereabouts at the time of his death. Her children swear their mother could not have committed such a heinous act. Kamal’s family is sure she did, and demands justice. Barely escaping a vengeful mob, Zeba is arrested and jailed. As Zeba awaits trial, she meets a group of women whose own misfortunes have also led them to these bleak cells: thirty-year-old Nafisa, imprisoned to protect her from an honor killing; twenty-five-year-old Latifa, who ran away from home with her teenage sister but now stays in the prison because it is safe shelter; and nineteen-year-old Mezhgan, pregnant and unmarried, waiting for her lover’s family to ask for her hand in marriage. Is Zeba a cold-blooded killer, these young women wonder, or has she been imprisoned, as they have been, for breaking some social rule? For these women, the prison is both a haven and a punishment. Removed from the harsh and unforgiving world outside, they form a lively and indelible sisterhood. Into this closed world comes Yusuf, Zeba’s Afghan-born, American-raised lawyer, whose commitment to human rights and desire to help his motherland have brought him back. With the fate of this seemingly ordinary housewife in his hands, Yusuf discovers that, like Afghanistan itself, his client may not be at all what he imagines. A moving look at the lives of modern Afghan women, A House Without Windows is astonishing, frightening, and triumphant.

Ted Lyte, amateur thief, has chosen an isolated house by the coast for his first robbery. But Haven House is no ordinary country home. While hunting for silverware to steal, Ted stumbles upon a locked room containing seven dead bodies. Detective Inspector Kendall takes on the case with the help of passing yachtsman Thomas Hazeldean. The search for the house's absent owners brings Hazeldean across the Channel to Boulogne, where he finds more than one motive to stay and investigate.

In this thrilling sequel to Lottie and the Land of Dofstram, M A Haggerty weaves an intriguing tale of spells and battles, loyalty and betrayal. Lottie Montmerencie's life is never dull as she continues to find herself involved in one fantastic adventure after another, ably assisted by her friend Penny and her talking pets Allsorts and Scruffy.

Vernon Lee writes in the Preface to Hauntings, “My ghosts are what you call spurious ghosts... of whom I can affirm only one thing, that they haunted certain brains, and have haunted, among others, my own.” First published in 1890, Lee’s most famous volume of supernatural tales occupies a special place in the literature of the fantastic for its treatment of the femme fatale and the allure of the past, along with the themes of thwarted artistic creativity and psychological obsession. This collection, which includes the four stories originally published in Hauntings and three others, enables readers to consider Lee’s work anew for its subtle redefinitions of gender and sexuality during the Victorian fin-de-siècle. The appendices, which include extensive excerpts from writings by Lee’s predecessors and peers, including Algernon Charles Swinburne, Walter Pater, and Lee’s brother Eugene Lee-Hamilton, allow the reader to see how Lee takes on the themes and preoccupations of the late-Victorian period but adapts them to her own purposes.