Renowned critic, bestselling author and award-winning poet Clive James offers an exploration and celebration of one of his favourite writers, Philip Larkin.

The second novel in nationally bestselling author K.A. Tucker’s breathtaking romantic suspense series, about an undercover detective who is dangerously drawn to her target. Luke Boone doesn't know exactly what his uncle Rust is involved in but he wants in on it—the cars, the money, the women. And it looks like he's finally getting his wish. When Rust hands him the managerial keys to the garage, they come with a second set—one that opens up the door to tons of cash and opportunity. Though it's not exactly legal, Luke's never been one to worry about that sort of thing. Especially when it puts him behind the wheel of a Porsche 911 and onto the radar of gorgeous socialite named Rain. Clara Bertelli is at the top of her game—at only twenty-six years old, she's one of the most successful undercover officers in the Washington, DC, major crime unit, and she's just been handed a case that could catapult her career and expose one of the West coast's most notorious car theft rings. But, in order to do it, she'll need to go deep undercover as Rain Martines. Her target? The twenty-four-year-old nephew of a key player who appears ready to follow in his uncle's footsteps. As Clara drifts deeper into the luxurious lifestyle of Rain, and further into the arms of her very attractive and charming target, the lines between right and wrong start to blur, making her wonder if she'll be able to leave it all behind. Or if she'll even want to.

For the first time, Faber publish a selection from the poetry of Philip Larkin. Drawing on Larkin's four collections and on his uncollected poems. Chosen by Martin Amis. 'Many poets make us smile; how many poets make us laugh - or, in that curious phrase, "laugh out loud" (as if there's another way of doing it)? Who else uses an essentially conversational idiom to achieve such a variety of emotional effects? Who else takes us, and takes us so often, from sunlit levity to mellifluous gloom?... Larkin, often, is more than memorable: he is instantly unforgettable.' - Martin Amis

"The trajectory of his poetic writing was influenced principally by his friendship with Kingsley Amis. Without Larkin Amis's imensely successful first novel, Lucky Jim, would not have been written. Its success caused Larkin finally to abandon his own ambitions as a novelist, to concentrate exclusively on his poetry, and his poetry would thereafter become his autobiography. Larkin's poetry is in its own right magnificent, and readers of Bradford's biography will be able to extend their appreciation of his art to an acquaintance with the artist at work."--Jacket.

“Mesmerizing, magical, deeply moving.” —Elif Shafak Expanding on the popular podcast of the same name from On Being Studios, Poetry Unbound offers immersive reflections on fifty powerful poems. In the tumult of our contemporary moment, poetry has emerged as an inviting, consoling outlet with a unique power to move and connect us, to inspire fury, tears, joy, laughter, and surprise. This generous anthology pairs fifty illuminating poems with poet and podcast host Pádraig Ó Tuama’s appealing, unhurried reflections. With keen insight and warm personal anecdotes, Ó Tuama considers each poem’s artistry and explores how its meaning can reach into our own lives. Focusing mainly on poets writing today, Ó Tuama engages with a diverse array of voices that includes Ada Limón, Ilya Kaminsky, Margaret Atwood, Ocean Vuong, Layli Long Soldier, and Reginald Dwayne Betts. Natasha Trethewey meditates on miscegenation and Mississippi; Raymond Antrobus makes poetry out of the questions shot at him by an immigration officer; Martín Espada mourns his father; Marie Howe remembers and blesses her mother’s body; Aimee Nezhukumatathil offers comfort to her child-self. Through these wide-ranging poems, Ó Tuama guides us on an inspiring journey to reckon with self-acceptance, history, independence, parenthood, identity, joy, and resilience. For anyone who has wanted to try their hand at a conversation with poetry but doesn’t know where to start, Poetry Unbound presents a window through which to celebrate the art of being alive.

The highly anticipated start of the “masterful” (New York Journal of Books) romantic suspense series from the beloved nationally bestselling author of Ten Tiny Breaths. Left for dead in the fields of rural Oregon, a young woman defies all odds and survives—but she awakens with no idea who she is, or what happened to her. Refusing to answer to “Jane Doe” for another day, the woman renames herself “Water” for the tiny, hidden marking on her body—the only clue to her past. Taken in by old Ginny Fitzgerald, a crotchety but kind lady living on a nearby horse farm, Water slowly begins building a new life. But as she attempts to piece together the fleeting slivers of her memory, more questions emerge: Who is the next-door neighbor, quietly toiling under the hood of his Barracuda? Why won’t Ginny let him step foot on her property? And why does Water feel she recognizes him? Twenty-four-year-old Jesse Welles doesn’t know how long it will be before Water gets her memory back. For her sake, Jesse hopes the answer is never. He knows that she’ll stay so much safer—and happier—that way. And that’s why, as hard as it is, he needs to keep his distance. Because getting too close could flood her with realities better left buried. The trouble is, water always seems to find its way to the surface.

_______________ 'Superb ... Booth's psychology is subtler than Motion's and more convincing' - Peter J. Conradi, Spectator 'Booth's diligence is unquestionable and even readers who think they know the poems will see nuances they had previously missed ... should render further attention by biographers superfluous for several years' - Guardian 'Those of us who never warmed to Larkin the man or poet, will have our aversions challenged by this sympathetic but different account of his life and work' - Independent _______________ A fascinating and controversial study of Philip Larkin's world and how it bled into his work, James Booth's biography is a unique insight into the man whose life and art have been misunderstood for too long Philip Larkin was that rare thing among poets: a household name in his own lifetime. Lines such as 'Never such innocence again' and 'Sexual intercourse began / In nineteen sixty-three' made him one of the most popular poets of the last century. Larkin's reputation as a man, however, has been more controversial. A solitary librarian known for his pessimism, he disliked exposure and had no patience with the literary circus. And when, in 1992, the publication of his Selected Letters laid bare his compartmentalised personal life, accusations of duplicity, faithlessness, racism and misogyny were levelled against him. There is, of course, no requirement that poets should be likeable or virtuous, but James Booth asks whether art and life were really so deeply at odds with each other. Can the poet who composed the moving 'Love Songs in Age' have been such a cold-hearted man? Can he who uttered the playful, self-deprecating words 'Deprivation is for me what daffodils were for Wordsworth' really have been so boorish? A very different public image is offered by those who shared the poet's life: the women with whom he was romantically involved, his friends and his university colleagues. It is with their personal testimony, including access to previously unseen letters, that Booth reinstates a man misunderstood: not a gaunt, emotional failure, but a witty, provocative and entertaining presence, delightful company; an attentive son and a man devoted to the women he loved. Meticulously researched, unwaveringly frank and full of fresh material, Philip Larkin: Life, Art and Love definitively reinterprets one of our greatest poets.

In his new collection of poems - several of which have already become famous before their book publication - Clive James looks back over an extraordinarily rich life with a clear-eyed and unflinching honesty. There are regrets, but no trace of self-pity in these verses, which - for all their open dealings with death and illness - are primarily a celebration of what is treasurable and memorable in our time here. Again and again, James reminds us that he is not only a poet of effortless wit and lyric accomplishment: he is also an immensely wise one, who delights in using poetic form to bring a razor-sharp focus to his thought. Miraculously, these poems see James writing with his insight and energy not only undiminished but positively charged by his situation: Sentenced to Life represents a career high point from one of the greatest literary intelligences of the age.

Looking at a wide swath of Chinese history and literature, this collection examines various issues stemming from immigration to America. Wang Ping conveys the voices of centuries of farmers and factory laborers, revolutionaries, writers, artists, and craftsmen. She has a unique gift for telling small stories with powerful emotional effects. The titular poem, "Ten Thousand Waves," was inspired by a tragedy that occurred on February 5, 2004. More than 20 Chinese laborers drowned in Morecambe Bay, England, when they were caught by an incoming tide. They were collecting cockles late in the evening, having been misinformed about the tidal times. The victims were undocumented immigrants, mainly from Fujian Province, China. In 2006, English filmmaker Nick Broomfield directed and produced Ghosts, a dramatic film based on the tragedy at Morecambe Bay. Not long after that, another filmmaker, Isaac Julien, commissioned Ping to write a narrative script for his film on global immigration, Small Boats. When he saw the finished poem, Julien decided to make a film installation specifically on Chinese immigration, which he entitled Ten Thousand Waves, after Ping's poem. Ten Thousand Waves has been featured at the Pace Foundation galleries in San Antonio, Texas, and at the Museum of Modern Art in New York.

Clive James is one of our finest critics and best-loved cultural voices. He is also a prize-winning poet. Since he was first enthralled by the mysterious power of poetry, he has been a dedicated student. In fact, for Clive, poetry has been nothing less than the occupation of a lifetime, and in this book he presents a distillation of all he's learned about the art form that matters to him most. With his customary wit, delightfully lucid prose style and wide-ranging knowledge, Clive explains the difference between the innocuous stuff that often passes for poetry today and a real poem: the latter being a work of unity that insists on being heard entire and threatens never to leave the memory. A committed formalist and an astute commentator, Clive offers close and careful readings of individual poems and poets (from Shakespeare to Larkin, Keats to Pound), and in some case second readings or re-readings late in life - just to be sure he wasn't wrong the first time! Whether discussing technical details of metaphorical creativity or simply praising his five favourite collections of all time, he is never less than captivating. Filled with insight and written with an honest, infectious enthusiasm, Poetry Notebook is the product of over fifty years of writing, reading, translating and thinking about poetry.