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  Marcus Douglas Presents The...

  Marcus Douglas

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  New Jerusalem stands sealed away from a world destroyed by disease and war, but their Orator Nebuchadnezzar has led them astray from what built their utopia. In the wake of his pride, a new disease began ravaging the city until one of the seven Localities needed to be sealed off for the good of the others. 
  With the city foundering, critical systems grinding to a halt, and food stores dwindling, they find hope in young David Shakir, whose grandfather founded this great haven. But will that burden crush the young boy whose spent his life thought sickly and weak, confined to his wheelchair? 
  The city looks to David and his closeness to God for leadership and his armor bearer, Elijah Ruiz. Can they be able to lead them out of these dark times, or will the looming threat within the sealed off Locality Seven consume them all?

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  Unmothered

  A J Akoto

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  A Debut collection from Black British poet A J Akoto. When is a mother a myth, and when is she a monster?
  In an intimate and unflinching collection, A J Akoto tracks the complex bind of mother-daughter relationships. Through separation and attempts to mend, longing, and the fluidity of myth/story-telling in defining histories and identities, she collapses the elision between womanhood and motherhood/daughterhood, bringing to the forefront that which usually remains unspoken.

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  The Black Man's Lament or How to...

  Amelia Opie

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  Amelia Alderson, an only child, was born on the 12th November 1769 in Norwich, England. 
  After the death of her mother on New Year’s Eve 1784 she became her father's housekeeper and hostess. 
  The young Amelia was energetic, attractive, and an admirer of fashion.  She spent much of her youth writing poetry and plays and putting on local amateur theatricals.  At 18 she had published anonymously ‘The Dangers of Coquetry’. 
  Amelia married in the spring of 1798 to the artist John Opie at the Church of St Marylebone, in Westminster, and together they lived in Berners Street where Amelia was already living. 
  Her next novel in 1801 ‘Father and Daughter’, was very popular even though it dealt with such themes as illegitimacy, a socially difficult subject for its times.  From this point on published works were far more regular.  The following year her volume ‘Poems’ appeared and was again very popular.  Novels continued to flow and she never once abandoned her social activism and her call for better treatment of women and the dispossessed in her works.  She was also keenly involved in a love of society and its attendant frills. 
  Encouraged by her husband to write more she published Adeline Mowbray in 1804, an exploration of women's education, marriage, and the abolition of slavery.  
  Her husband died in 1807 and she paused from writing for a few years before resuming with further novels and poems.  Of particular interest was her short poem ‘The Black Man's Lament’ in 1826.  Her life now was in the main spent travelling and working for charities and against slavery.  She even helped create a Ladies Anti-Slavery Society in Norwich which organised a parliamentary petition of 187,000 names of which hers was the first name. 
  After a visit to Cromer, a seaside resort on the North Norfolk coast, she caught a chill and retired to her bedroom.  
  Amelia Opie died on the 2nd December 1853 in Norwich.  She was 84.

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  The Lord of the Isles

  Sir Walter Scott

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  In stunning narrative poetry, the story begins during the time when Robert Bruce, Earl of Carrick has been hunted out of Scotland into exile by the English and their allies. Bruce returns over sea from the Island of Rachrin: but is forced to land close to hostile forces at Artonish Castle on the seacoast of Argylshire. Seeking refuge from tempestuous seas, Bruce begs shelter from Ronald, Lord of the Isles: inadvertently on the day of his marriage feast to the beautiful Edith of Lorn.Bruce's very presence is enough to interrupt the nuptials and to break up the festivities: the guests quickly polarise into two armed and equally matched factions: one ready to raise Bruce to the Scottish crown, the other ready to slay him for desecration and murder. The combatants are dispersed with no bloodshed only by the combined offices of Lord Ronald himself, aided by a visiting Abbot: whereupon Bruce quickly removes himself to first the Island of Sky, and then Ayrshire: raising the an army willing to rout the English and re-establish Scottish independence.Bruce begins to win a steady stream of victories as his armies march inevitably towards Bannockburn. There, Bruce confronts Scotland's formidable enemy - led by the son of the Hammer of the Scots: the English outnumbering the Scots by more than two to one.- Can Bruce - the so-called fugitive, traitor, and turn-coat - succeed against the massed might of England?- Will the beautiful Edith choose to side with her blood-relations - who fight for England; or with Lord Ronald, her betrothed - who marches to battle behind Scotland's Bruce?(Introduction by Godsend)

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  Selected poems of Louis Bogan

  Louis Bogan

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  Louis Bogan was born in Livermore Falls, Maine in 1897. She wrote several poetry collections and many books of prose and translations throughout her lifetime. Recipient of the Bollingen award in 1955, and an award from the Academy of American Poets in 1959, Bogan died in 1970.

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  The Orchid Folios

  Mok Zining

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  “When you take an orchid out of its pot, you must first loosen the roots’ hold on the soil. Late last evening as I unravelled the braids of the shattered phalaenopsis, I saw how the ends were white and shrivelled from neglect. You have to do it gently—it’s like combing hair. I remember Mum’s fingers running through mine, and mine through hers, until the final months when all of it started to fall.” 
   
   
  A pot shatters. An arrangement falls apart. A florist finds herself amidst the scattered leaves of history. At once a poetry collection and a documentary novella, The Orchid Folios reimagines the orchid as a living, breathing document of history: a history that enmeshes the personal, colonial, linguistic, and biotechnological with the Vanda Miss Joaquim, the symbol of Singapore’s postcolonial hybridity. While the Orchid has shaped the fantastical narratives that govern our multiracial City in a Garden, it continues to shape-shift and bloom on its own terms, challenging us to imagine a decolonised Singapore. This is the organism at the heart of The Orchid Folios—by turns stark and unruly, documenting and challenging the narratives that are the roots of our national consciousness.

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