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  Monster Dances at Dusk - A...

  Duraiya Khan

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  “In poetic prose, I revisit the scars of childhood abuse, molding me into a hollow shell of womanhood. Navigating immigrant pressures, cultures clash, tugging me in divergent paths. Unraveling buried trauma, self-destruction consumed, shattering false identities. Intuition emerges as my guide, leading through mystical realms to rebirth. From unworthiness to purpose-seeking, I rise, embracing happiness, truth, and destiny’s dance.” —From the author   This is the author’s poetic recollection of being abused as a child and how the aftermath shaped her to live her life as a shell of a woman. She takes the reader through the front seat of her mind as she navigates the pressures of being the daughter of brown immigrants and how the clash of cultures pushed and pulled her in different directions. Discovering the trauma stored in her body, self-destruction from the inside led to the inevitable death of her false self. Learning to trust her intuition and the universe, getting lost and found in the world of magic and her prophetic dreams, ultimately guided her to the rebirth of an awakened identity. She went from not feeling worthy enough to live, to searching for her purpose, pulling herself out of the hole, finding her happiness, and never looking back. She learned to live her truth, love herself, and instinctively play with her fate.

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  Silas Marner

  George Eliot

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  In the town of Reveloe, there lives a man called Silas Marner. A strange little man, a weaver by trade, and seen with suspicion by the other villagers. He's been beset by bad luck all his life. Cast out of his simple religious life in Lantern Yard, and then returns home to find his money stolen. But then, on new years day, his luck changes when he finds a small child sitting before his hearth...  
  Published in 1861, this was the third novel by George Elliot, and delves into the topics of religion, industrialisation and community, and was praised at the time for its realism.  
  Narrated by Michael Ward.

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  Rhyme A Dozen A - Marriage - 12...

  Kahlil Gibran, Laurence Hope aka...

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  ‘A dime a dozen’ as known in America, is perhaps equal to the English ‘cheap as chips’ but whatever the lingua franca of your choice in this series we hereby submit ‘A Rhyme a Dozen’ as 12 poems on many given subjects that are a well-rounded gathering, maybe even an essential guide, from the knowing pens of classic poets and their beautifully spoken verse to the comfort of your ears. 
   
  1 - A Rhyme a Dozen - 12 Poets, 12 Poems, 1 Topic.  Marriage - An Introduction 
  2 - On Marriage by Khalil Gibran 
  3 - The Bride by Laurence Hope aka Violet Nicholson 
  4 - Nuptial Sleep by Dante Gabriel Rossetti 
  5 - Wedding Song by Jehudah Halevi 
  6 - To a Husband by Anne Kingsmill Finch 
  7 - Sonnet to My Wife by Thomas Hood 
  8 - To My Dear and Loving Husband by Anne Bradstreet 
  9 - On His Deceased Wife by John Milton 
  10 - Fidelity by D H Lawrence 
  11 - Mutual Forebearance. Necessary to the Married State by William Cowper 
  12 - Vice Vearsa by Ambrose Bierce 
  13 - The Owl and the Pussycat by Edward Lear

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  Gaia Rise Of The Goddess

  Justin Wesenberg

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  Gaia is a channeled poetry book about claiming your inner goddess, and finding your truth.  
  This poetry book is for those who are ready to step fully into themselves, and their divine feminine energy. 
  Now is the time 
  For the Goddess to rise 
  To help us dissolve 
  All the lies 
  All the things 
  That we've been told 
  That have influenced us 
  As we grow old 
  It's time for you 
  To make the choice 
  To heed the wisdom 
  Of your inner voice 
  It will call to you 
  In times of change 
  But this is the way 
  Your life will arrange 
  So that you can claim 
  The Goddess within 
  Find your truth 
  And what you believe in 
  This channeled poetry book was inspired by the rising feminine energy on the planet at this time. 
  If it’s time to claim your inner goddess, let Gaia Rise Of The Goddess connect you back with the heartbeat of mother earth!

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  MALAPROP: plays

  Carys D. Coburn

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  MALAPROP Theatre is an award-winning collective of Irish theatremakers, who seek to challenge, delight and speak to the world we live in (even when imagining different ones). This volume brings together four of their bold, playful and genre-spanning plays, all premiered at the Dublin Fringe Festival between 2017 and 2023.
  In Everything Not Saved, ex-lovers argue about when they were happiest, police officers rewrite history, and Rasputin dances like no one's watching. Oh, and also the Queen is there.
  Before You Say Anything questions how everyone can be safe at the same time. A time-travelling set of interweaving stories exploring injustice, freedom and bravery.
  Where Sat the Lovers is about codes, hallucinations, Isaac Newton, war crimes, seeing meaning where there's none and vice versa. In an age of misinformation, how do you know if you know the right things?
  HOTHOUSEtackles climate breakdown with big ideas, a lot of laughs, and some truly grotesque cabaret numbers. Cruise ships, horny/murderous songbirds, fecund/fatalistic rabbits, loving/bruising parents and Minnie Riperton all make an appearance in this play with songs, which asks if things can ever get better.
  MALAPROP Theatre are Carys D. Coburn, John Gunning, Breffni Holahan, Molly O'Cathain, Maeve O'Mahony, Claire O'Reilly and Carla Rogers.
  'MALAPROP have quickly distinguished themselves as one of Ireland's most exciting emerging companies' Ruth McGowan, Director, Dublin Fringe Festival (2018-23)
  'A company of real ambition. One which is using theatrical form to grapple with the complexities of a world where the ground is constantly shifting beneath our feet and where what we believe can be recalibrated not just on a daily basis but minute by minute' Lyn Gardner, Stage Door
  'Reminiscent of early Caryl Churchill... this is thinking theatre at its best'Irish Independent

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  Little Brother

  Mary E. Mann

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  Mary E. Mann does not flinch. In Little Brother, she leads us by the hand into a world where hunger is constant, sorrow is routine, and the arrival of a child is met with neither joy nor mourning—just another mouth, another burden, another resignation. Yet even in this bleakness, life goes on, in ways both unsettling and eerily familiar. A stark, unflinching glimpse into the realities of the forgotten, this story is as haunting as it is quietly devastating.

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