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  The Valley of the Squinting Windows

  Brinsley McNamara

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  Valley of the Squinting Windows is a classic Irish novel set in central Ireland c. 1914–16 in Garradrimna is a tiny village where everyone is interested in everyone else's business.
  
  
  Twenty years before the events of the book, Nan Byrne has a relationship with a local man, Henry Shannon, hoping to marry him for his wealth. She falls pregnant but Henry refuses to marry her. After a miscarriage, the baby is buried at the bottom of the garden. Henry marries another woman and later dies, while Nan herself emigrates to England and marries Ned Brennan. They later move back to Garradrimna, where the villagers rejoice in telling Ned about his wife's past.
  
  
  Ned is brought low by the humiliation of his wife's past promiscuity. He drinks and makes a little as a labourer, whereas Nan works every day at sewing to support their only child, John, studying in England to become a Catholic priest. However, she becomes as cruel, petty, and jealous as the rest of Garradrimna, conniving with the postmistress to sabotage Myles Shannon's chance at romance with an English girl, to get revenge on the Shannon family for rejecting her.
  
  
  Her son John returns to Garradrimna for a holiday, where he befriends Ulick Shannon (son of Henry) and falls for Rebecca Kerr, a schoolteacher. Ulick and Rebecca have a relationship however, and when Rebecca becomes pregnant she is disgraced and expelled from the village. Ulick abandons her and John murders him, weighing the body with lead and hiding it in the lake. Rebecca leaves for Dublin and an uncertain future. An old gossip informs Nan and John that she witnessed the night Nan gave birth to Henry's child – in reality, the child was born alive and was given to Henry and his wife – who they raised as their son, Ulick Shannon.

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  B Is for Bad Poetry

  Pamela August Russell

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  “The poems are so deliciously bad that they’re fun . . . it might just be that there’s a little bit of serious poetry play giggling behind the scenes.” —Los Angeles Times 
   
  Forget Shakespeare. Don’t count on Donne. Shelley and Keats: banished! And there’s absolutely no poet laureate from the golden or any other age. So fawning PhDs in love with little-understood verses by long-dead writers should go elsewhere. This is poetry for the rest of us—bad poetry!  
   
  Pamela Russell’s unexalted (but thoroughly hysterical) poems mock, chide, accuse, tease, joke, undermine, point, and laugh at the world around us—and at anything that takes itself too seriously. Her non-canonical oeuvre includes: Tea for Two (A Tragedy); Nietzsche and the Ice-Cream Truck; Capitalism Can Fall Not Like I Fell for You; Inappropriately Touched by an Angel; Love Is Like a Toilet Bowl; and many more.

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  The Kingdom of Surfaces - Poems

  Sally Wen Mao

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  In The Kingdom of Surfaces, award-winning poet Sally Wen Mao examines art and history—especially the provenance of objects such as porcelain, silk, and pearls—to frame an important conversation on beauty, empire, commodification, and violence. In lyric poems and wide-ranging sequences, Mao interrogates gendered expressions such as the contemporary “leftover women,” which denotes unmarried women, and the historical “castle-toppler,” a term used to describe a concubine whose beauty ruins an emperor and his empire. These poems also explore the permeability of object and subject through the history of Chinese women in America, labor practices around the silk loom, and the ongoing violence against Asian people during the COVID-19 pandemic.At its heart, The Kingdom of Surfaces imagines the poet wandering into a Western fantasy, which covets, imitates, and appropriates Chinese aesthetics via Chinamania and the nineteenth-century Aesthetic Movement, while perpetuating state violence upon actual lives. The title poem is a speculative recasting of Through the Looking-Glass, set in a surreal topsy-turvy version of the eponymous China-themed 2015 Metropolitan Museum of Art Gala. The Kingdom of Surfaces is a brilliantly conceived call for those who recognize the horrors of American exceptionalism to topple the empire that values capital over lives and power over liberation.

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  Bazaar (NHB Modern Plays)

  David Planell

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  In an attempt to be famous for a day, Hassan, the owner of a bric-a-brac shop, enlists his neighbour Anton to help make a video for a You've Been Framed-style TV programme. In the process, poisoned undercurrents of racism rise to the surface.
  Bazaar by young Spanish dramatist David Planell was premiered in this English translation by John Clifford at the Royal Court Theatre, London, in 1997.

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  This is a Chair (NHB Modern Plays)

  Caryl Churchill

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  A series of surreal sketches, each prefaced by a doom-laden tabloid style headline, This Is A Chair is at once modern and postmodern, tragedy and farce, about all and about nothing.
  'Churchill, who constantly reinvents dramatic form, has come up with something compelling and strange: an intimate revue about the increasing surreality of modern life' - Guardian
  'creates a haunting impression of urban alienation, self-obsession and pre-millennial tension' - Daily Telegraph

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  The Confidential Clerk

  T.S. Eliot

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  A comedy of mistaken identities erupts in the household of a wealthy London entrepreneur in this play by the Nobel Prize–winning author. 
   
  A motley play of family mysteries, The Confidential Clerk follows Sir Claude and Lady Elizabeth as they reconnect with their long-lost illegitimate children—even though they aren’t quite certain whose child is whose. “Extraordinarily good fun,” this is one of Eliot’s greatest comedies, full of wit, crisp dialogue, and parental hijinks laced with some of Eliot’s finest poetry and existential reveries (The Atlantic). 
   
  Praise for The Confidential Clerk 
   
  “The dialogue . . . has a precision and a lightly felt rhythm unmatched in the writing of any contemporary dramatist.” —Times Literary Supplement (UK) 
   
  “A triumph of dramatic skill: the handling of the two levels of the play is masterly and Eliot’s verse registers its greatest achievement on the stage—passages of great lyrical beauty are incorporated into the dialogue.” —Spectator (UK)

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