As well as the name of a virus, a corona is a crown, the pearly glow around the sun in certain astronomical conditions and a poetic form where interlinking lines connect a sequence. It is the perfect name therefore for this new collection of 150 poems by the bestselling poet Malcolm Guite, each one written in response to the Bible’s 150 psalms as they appear in William Coverdale’s timeless translation. The Psalms express every human emotion with disarming honesty, as anger and thankfulness alike are directed at God. All of life is here with its moments of beauty and its times of despair and shame. Like the Psalms themselves, the poems do not avoid the cursing and glorying over the downfall of your enemies, but wrestle honestly with them as we do when we come to say them.

'The Little White Horse was my favourite childhood book. I absolutely adored it. It had a cracking plot. It was scary and romantic in parts and had a feisty heroine.' - JK Rowling - The Bookseller In 1842, thirteen-year-old orphan Maria Merryweather travels to her family's ancestral home, Moonacre Manor, to live with her uncle Sir Benjamin. She immediately feels right at home with her kind and funny uncle and meets a wonderful set of new friends — but she quickly learns that beneath all this beauty and comfort, a past feud haunts Moonacre Manor and it’s her destiny to right the wrongs of her ancestors and restore the peace to Moonacre Valley. A beautifully written fantasy story filled with magic, a Moon Princess, and a mysterious white horse. Little White Horse and the delightful heroine, Maria Merryweather, are sure to be loved by all children.

From the day twelve-year-old Rhiannon spots a lost white Arabian gelding in the woods near her small Pennsylvania mining town, her life finds a focus as she learns to deal with family problems and decides the direction her life will take.

The Ballad of the White Horse is one of the last great epic poems in the English language. On the one hand it describes King Alfredಙs battle against the Danes in 878. On the other hand it is a timeless allegory about the ongoing battle between Christianity and the forces of nihilistic heathenism. Filled with colorful characters, thrilling battles and mystical visions, it is as lively as it is profound. Chesterton incorporates brilliant imagination, atmosphere, moral concern, chronological continuity, wisdom and fancy. He makes his stanzas reverberate with sound, and hurries his readers into the heart of the battle. This deluxe volume is the definitive edition of the poem. It exactly reproduces the 1928 edition with Robert Austinಙs beautiful woodcuts, and includes a thorough introduction and wonderful endnotes by Sister Bernadette Sheridan, from her 60 years researching the poem. Illustrated.

"From the New York Times bestselling author--the first Ballad novel to feature the epic, and gorgeously-portrayed, American Revolution John Sevier had not taken much interest in the American Revolution, he was too busy fighting Indians in the Carolinas and taming the wilderness. But when an arrogant British officer threatened his settlement--promising to burn the farms and kill families--the war became personal. That arrogant officer is Patrick Ferguson of the British Army--who is both charmingly antagonistic and surprisingly endearing. Inventor of the Ferguson rifle, and the devoted lover to his mistress, Virginia Sal, Patrick becomes a delightful anti-hero under McCrumb's watchful eye. Through varying perspectives, King's Mountain is an elegant saga of the Carolina Overmountain Men--the militia organized by Sevier (who would later become the first governor of Tennessee) and their victory in 1780 against the Tories in a battle that Thomas Jefferson later called, "The turning point of the American Revolution." Peppered with lore and the authentic heart of the people in McCrumb's classic Ballads, this is an epic book that will build on the success of The Ballad of Tom Dooley and her recent return to the New York Times bestseller list. Featuring the American Revolution, this a huge draw to readers old and new, and special to McCrumb who can trace her lineage to the character John Sevier"--

One of G. K. Chesterton’s finest collection of essays, The Well and the Shallows, explore more controversial themes than typically seen in the work of the English writer. Written with Chesterton’s biting wit, he touches on various cultural, social and moral issues from birth control to Catholicism. Chesterton’s perceptive analysis of core issues within modern society remains startling relatable nearly 100 years since its publication. Written shortly after his conversion to Catholicism, he writes with tremendous foresight focusing on subjects like Catholicism, Reformation and Protestantism, and other profound writings on political and social issues based around the central theme of religion. Essays in this volume include: My Six Conversions The Return to Religion The Higher Nihilism The Ascetic At Large Babies and Distribution A Century of Emancipation Trade Terms Shocking the Modernists Sex and Property Why Protestants Prohibit Where is the Paradox? The Well and the Shallows is an insightful collection of essays on some of the most important ideas of the modernist era written by one of the greatest English writers of the 20th century. It is a perfect read for those interested in the work of G. K. Chesterton or any with a broader interest in historical, social analysis from a religious perspective.

A daring young woman pushes back against societal constraints in a feminist, coming-of-age Western romance from New York Times bestselling author Susan Andersen. In the small, bustling town of Mattawa, Oregon, the turn of the century offers a new kind of frontier for women: a vast and exciting range of possibilities--to a point. It's a time for change, and no one is more eager to embrace new paths than free-spirited outsider Hattie Taylor. If only she could embrace Jake Murdock too. Jake can't remember a time he was so confused. Hattie is off-limits. The provoking spitfire is under his mother's protection--his protection--and he has always belonged to another. But now, with the passing of his wife, Jake feels something shift between them. Frustratingly aware of Hattie as a woman, he struggles with new feelings, new questions, new desires. But when a desperate decision born of good intentions turns out to have ugly repercussions, Hattie confronts a cruel reality she can no longer ignore: the truth of where women really stand and the actions men take to keep them there. To navigate her new world of tainted justice and privileged order Hattie will draw on the strength of the women around her--and Jake will learn what it truly means to support the woman he loves.

The Gory Stories Behind The Murder Ballads Cheerfully vulgar, revelling in gore, and always with an eye on the main chance, murder ballads are tabloid newspapers set to music, carrying word of the latest ‘orrible murders to an insatiable public. Victims are bludgeoned, stabbed or shot in every verse and killers often hanged, but the songs themselves never die. Instead, they mutate – morphing to suit local place names as they criss cross the Atlantic and continue to fascinate each generation’s biggest musical stars. Paul Slade traces this fascinating genre’s history through eight of its greatest songs. Stagger Lee’s “biographers” alone include Duke Ellington, James Brown, Bob Dylan, Dr John, The Clash and Nick Cave. No two tell his story in quite the same way. Covering eight classic murder ballads, including “Knoxville Girl”, “Tom Dooley” and “Frankie & Johnny”, Slade investigates the real-life murder which inspired each song and traces its musical development down the decades. Billy Bragg, The Bad Seeds’ Mick Harvey, Laura Cantrell, Rennie Sparks of The Handsome Family and a host of other leading musicians add their own insights.

Goethe, who saw so many things with such clearness of vision, brought out the charm of the popular ballad for readers of a later day in his remark that the value of these songs of the people is to be found in the fact that their motives are drawn directly from nature; and he added, that in the art of saying things compactly, uneducated men have greater skill than those who are educated. It is certainly true that no kind of verse is so completely out of the atmosphere of modern writing as the popular ballad. No other form of verse has, therefore, in so great a degree, the charm of freshness. In material, treatment, and spirit, these bat lads are set in sharp contrast with the poetry of the hour. They deal with historical events or incidents, with local traditions, with personal adventure or achievement. They are, almost without exception, entirely objective. Contemporary poetry is, on the other hand, very largely subjective; and even when it deals with events or incidents it invests them to such a degree with personal emotion and imagination, it so modifies and colours them with temperamental effects, that the resulting poem is much more a study of subjective conditions than a picture or drama of objective realities. This projection of the inward upon the outward world, in such a degree that the dividing line between the two is lost, is strikingly illustrated in Maeterlinck's plays. Nothing could be in sharper contrast, for instance, than the famous ballad of "The Hunting of the Cheviot" and Maeterlinck's "Princess Maleine." There is no atmosphere, in a strict use of the word, in the spirited and compact account of the famous contention between the Percies and the Douglases, of which Sir Philip Sidney said "that I found not my heart moved more than with a Trumpet." It is a breathless, rushing narrative of a swift succession of events, told with the most straight-forward simplicity. In the "Princess Maleine," on the other hand, the narrative is so charged with subjective feeling, the world in which the action takes place is so deeply tinged with lights that never rested on any actual landscape, that all sense of reality is lost. The play depends for its effect mainly upon atmosphere. Certain very definite impressions are produced with singular power, but there is no clear, clean stamping of occurrences on the mind. The imagination is skilfully awakened and made to do the work of observation. The note of the popular ballad is its objectivity; it not only takes us out of doors, but it also takes us out of the individual consciousness. The manner is entirely subordinated to the matter; the poet, if there was a poet in the case, obliterates himself. What we get is a definite report of events which have taken place, not a study of a man's mind nor an account of a man's feelings. The true balladist is never introspective; he is concerned not with himself but with his story. There is no self-disclosure in his song. To the mood of Senancour and Amiel he was a stranger. Neither he nor the men to whom he recited or sang would have understood that mood. They were primarily and unreflectively absorbed in the world outside of themselves. They saw far more than they meditated; they recorded far more than they moralized. The popular ballads are, as a rule, entirely free from didacticism in any form; that is one of the main sources of their unfailing charm. They show not only a childlike curiosity about the doings of the day and the things that befall men, but a childlike indifference to moral inference and justification. The bloodier the fray the better for ballad purposes; no one feels the necessity of apology either for ruthless aggression or for useless blood-letting; the scene is reported as it was presented to the eye of the spectator, not to his moralizing faculty. He is expected to see and to sing, not to scrutinize and meditate. In those rare cases in which a moral inference is drawn, it is always so obvious and elementary that it gives the impression of having been fastened on at the end of the song, in deference to ecclesiastical rather than popular feeling.