Thomas Manton’s commentary on James is one of the lasting works of the Puritan era. J.C. Ryle championed the republication of Manton’s works in the 19th century. He wrote, “Manton’s chief excellence as a writer, in my judgment, consists in the ease, perspicuousness, and clearness of his style. I find it easier to read fifty pages of Manton’s than ten of some of his brethren’s; and after reading, I feel that I carry more away. Let no one, moreover, suppose that because Manton’s style is easy, his writings show any lack of matter and thought. Nothing of the kind. The fertility of his mind seems to have been truly astonishing. Every page in his books contains many ideas, and gives you plenty to think about. If Manton never soars so high as some writers, he is, at any rate, never trifling, never shallow, never wearisome, and never dull.” On Manton’s practical commentary on James, Spurgeon notes: “In Manton’s best style. An exhaustive work, as far as the information of the period admitted. Few such books are written now.”

Back in print by popular demand--"A stunning revelation of the historical Macbeth, harsh and brutal and eloquent." --Washington Post Book World. With the same meticulous scholarship and narrative legerdemain she brought to her hugely popular Lymond Chronicles, our foremost historical novelist travels further into the past. In King Hereafter, Dorothy Dunnett's stage is the wild, half-pagan country of eleventh-century Scotland. Her hero is an ungainly young earl with a lowering brow and a taste for intrigue. He calls himself Thorfinn but his Christian name is Macbeth. Dunnett depicts Macbeth's transformation from an angry boy who refuses to accept his meager share of the Orkney Islands to a suavely accomplished warrior who seizes an empire with the help of a wife as shrewd and valiant as himself. She creates characters who are at once wholly creatures of another time yet always recognizable--and she does so with such realism and immediacy that she once more elevates historical fiction into high art.

Vanessa Barton steps onto Bennett’s Island for the first time as if she is stepping into a prison cell. She feels trapped by her marriage, she carries the emotional shackles of a childhood spent as a ward of the state, and she wants nothing to do with the island community. A chance encounter with Owen Bennett sparks off an attraction that brings Vanessa to life, as she discovers something real that eclipses the fantasies of the novels she reads. Owen leads her on a path of self-discovery that forces her to confront long buried feelings and begin healing old emotional scars. Island life shakes Vanessa out of her self-pity but when misfortune knocks once again at her door, she must decide once and for all whether to succumb to the fugue of her earlier days or whether to seize her independence and happiness.