Annabelle Taylor has been in her ideal relationship with an adoring partner for thirteen years. Davis Chandler is jaded from years of bad luck with women, but she thinks she's finally started dating the girl of her dreams. The only problem is they're both in love with the same woman. Nic McCoy is living a double life that is about to come crashing down on all of them. All three women are left trying to rebuild their lives in the wake of shocking realizations that leave them second-guessing everything about themselves and each other. As they struggle toward recovery, they each face life-altering questions about trust, redemption, and the possibility of finding love in the wake of betrayal.

Jeff’s life would be so much better if he were the one directing it Close-up: Mary running toward him with tears in her eyes. “Oh, my darling, I couldn’t wait to get back.” Cut to long shot: Jeff puts his arms around her. They kiss. Fade out. Jeff already sees everything as a scene in a movie, planning the camera angles and imagining people reading the lines he’ll write for them. As soon as he saves up enough money to move to California, he’s going to quit his dishwashing job, and then . . . look out for Director Orloff! Unfortunately, Mary Silver doesn’t seem to have read the script. When they were in high school drama club together, she never noticed Jeff, and now that she’s back in town, a new player has entered the scene: Mary’s infant daughter, Hannah. Being a mom is a full-time job, but Jeff knows that Mary was born to be an actress—he’s seen her come alive on stage, transforming into her character from the inside out. Her kind of talent is in a class by itself. If only Mary could see herself as Jeff sees her—beautiful and talented . . . and utterly in love with him. Will their romance always be just in his head? Or can he win Mary’s heart another way—by figuring out what it means to be a friend to her, and to Hannah?

Ginger Duncan is a newly published author. Her first book, Jaydens Counting Walk is now followed by her second book, Jayden asks, Does she love me, Does she love me not? After 40 years of working with children of all ages, Ginger has started a new career. The writing of childrens books.

Annabelle Taylor has been in her ideal relationship with an adoring partner for thirteen years. Davis Chandler is jaded from years of bad luck with women, but she thinks she's finally started dating the girl of her dreams. The only problem is they're both in love with the same woman. Nic McCoy is living a double life that is about to come crashing down on all of them. All three women are left trying to rebuild their lives in the wake of shocking realizations that leave them second-guessing everything about themselves and each other. As they struggle toward recovery, they each face life-altering questions about trust, redemption, and the possibility of finding love in the wake of betrayal.

Our Seas of Fear and Love is a romance-family saga set primarily in Maine but also in Europe, Boston, and the Southwest. Calm and stormy seas are emblematic of the characters, their influence upon one another, and the conflicts and love expressed among the four main characters – Brigit, Deirdre, Gregory and Étienne Moreau, a man who searches out art treasures to sell to museums. Étienne takes as his partner Deirdre, a dark haired, vivacious beauty he meets during World War II when she was an OSS member and he was head of a Maquis group. Brigit, an extremely attractive red-haired woman and nurse cares for Gregory wounded during the war and who becomes a well-known medical researcher. Gregory and Brigit have fallen in love and plan their marriage. Deirdre then sets her sight on Gregory, ignoring her lover and partner Étienne, and a conflict occurs between the two women. In the end, the effects of love triumph in contrast to vainness that damages self and others as the seas of fear and love engulf all. Reviews “In Our Seas of Fear and Love the characters are well developed and believable as they are interwoven into a story that hits the emotional highs and lows of couples through times of adversity. The story reminds us that even people of high moral standards and values can be corrupted through lust and money. This story will draw you in from the first chapter and keep you reading until the last word. You actually feel as if you are living the story which can only happen when the writing is superb like Cohen’s.” - Bonnie Kaye, M.Ed., Counselor and Author of ManReaders: A Woman’s Guide to Dysfunctional Men “This meticulously crafted novel reads like a family saga, spanning about fifty years. The author weaves the warp of individual characters into the woof of both national and global affairs with great clarity. The tangled love relationships are described with candor. Sharply observed and deeply felt, the narrative plays out against the unifying backdrop of the ocean, which with its changing moods serves as a natural metaphor for the tempestuous changes that occur in history and the lives of individuals. A compelling must read.” - J. Arthur Faber, Professor of English Emeritus, Wittenberg University About the Author Richard Shain Cohen of Cape Elizabeth, Maine, is originally from Boston. He retired from the University of Maine at Presque Isle after serving as Vice President of Academic Affairs and Professor of English. He holds B.S., M.A., and Ph.D. degrees. He served as editor of the journal Husson Review and was principal participant in a National Endowment for the Arts Grant for “Images of Aroostook” that was exhibited throughout the State of Maine. His own publications include: Healing After Dark: Pioneering Compassionate Medicine at the Boston Evening Clinic (2011), The Forgotten Longfellow: Man in the Shadows (2010), Only God Can Make a Tree, poetry from himself and his brother, Alfred Robert Cohen; and the novels Our Seas of Fear and Love, Monday: End of the Week, Be Still, My Soul, and Petal on a Black Bough. He also wrote chapters for Aroostook: Land of Promise, academic reviews, other articles, and – with the help of a Shell Grant – a monograph on Samuel Richardson that can be found in major library holdings.

The only collection of essays on one of Britain's Angry Young Men, this book contains discussions of most of Wesker's published plays with an emphasis on the more recent works. Essays reevaluate the plays that made Wesker a household name in Britain (the Trilogy, The Kitchen , and Chips with Everything). Clive Barker, co-director of Centre 42, gives a fresh account of that movement, and playwright Paul Levitt provides a previously unrecorded history of Caritas, Blood Libel, and Shylock. A personal profile of Wesker by novelist Margaret Drabble is reprinted from an earlier article. Original essays cover the theory and practice of theatre-Wesker's in-text stage directions, British television's adaptation of his plays, and an actor's and a director's perspectives on working with the playwright. Major international Weskerian critics are assembled here: Klaus Peter Mÿller and Heiner Zimmermann from Germany; Rossana Bonadei, Angela Locatelli, and Alessandra Marzola from Italy; Keith Gore, Glenda Leeming, Martin Priestman, Jeremy Ridgman, Margaret Rose, and Robert Wilcher from Great Britain; Menakshi Ponnuswami from India; Robert Gross, Kimball King, and Robert Skloot from the United States. These essays take a wide range of critical approaches from an exploration of gender, to semiotics, biography, and the New Historicism. This is the most comprehensive collection of criticism on Arnold Wesker to date. Every major Weskerian scholar writing in English has contributed a piece to this casebook. Originating in Germany, Italy, Great Britain, India, and the United States, their essays create an international cultural context for Wesker's plays. They also position his work among his contemporaries, in his historical era, and in the political and theatrical environment that defines his world. Furthermore, they form a biographical profile of Wesker, often giving us firsthand accounts of turning points in his career. Finally, some essays evaluate and interpret the major plays, dissecting and scrutinizing the formal elements that make them distinct. Their critical approaches are varied in that they make liberal use of semiotics, Bakhtinian and communication theory, cultural studies, and traditional readings. Their contributions compose a multi-faceted view of Wesker's life and work setting out fresh arguments for all his plays.