FICTION

The gripping second instalment in Blood for Blood, the heart-racing YA mafia romance trilogy. Sophie is determined to piece her life back together, but it’s not easy to untangle herself from the dangerous Falcone brothers… Nic won’t give up on their love, and it’s Luca’s knife she clutches for comfort. It’s not long before Sophie finds herself torn between two warring mafia dynasties. With her heart drawn in one direction and her blood in another, she’s in deeper than ever… Praise for VENDETTA: ‘A grimy, tense, crime/gang thriller with a dynamic cast of characters; VENDETTA brings drama and realism to a dark story of grudges, revenge and passion.’ Alice Oseman, author of SOLITAIRE and HEARTSTOPPER ‘I stayed up until Late o’clock finishing VENDETTA… It’s AWESOME. Great fighting. Great kissing.’ C.J. Daugherty, author of the NIGHT SCHOOL series ‘A vibrant new twist on Romeo and Juliet. Full of energy and intrigue!’ Lucy Christopher, author of STOLEN ‘Fan-freaking-tastic … I honestly can’t say enough good things about it! I would read anything Cat Doyle writes after flying through VENDETTA!’ Victoria Scott, author of the FIRE & FLOOD series Praise for INFERNO: ‘It’s bloody brilliant, even better than VENDETTA if that’s possible … It’s exciting and violent and sexy and heartbreaking. Loved it!’ Louise O’Neill, author of IDOL and AFTER THE SILENCE ‘Darker, sexier and more dangerous than ever before …’ Melinda Salisbury, author of THE SIN EATER’S DAUGHTER ‘It’s the best, best, best YA romance-slash-Mafia action film that you could ever HOPE FOR … IT WAS SO GOOD. SO GOOD.’ Lauren James, author of THE QUIET AT THE END OF THE WORLD and THE NEXT TOGETHER series

Based on the true story of Tasma Walton’s ancestor, a powerful, heart-wrenching novel about maternal love that endures against pitiless odds. Kidnapped by sealers and enslaved far from her homeland, Nannertgarrook has a spirit that refuses to bow … From her idyllic life in sea country in Nerrm (Port Phillip Bay, Victoria), Nannertgarrook is abducted and taken to a slave market, leaving behind a husband, daughter and son. Pregnant when seized, she soon gives birth to another son, whom she raises with the children of her fellow captives. Nannertgarrook is separated not only from her Boonwurrung family, but from her birthright – the ceremonies she once was so joyously part of, the majestic whales who are her totem, the land and sky and sea country and its creatures. All these things she loves as deeply as she does her blood kin. But now, as her reality becomes profoundly different, she must keep that family and her old life alive in her mind. Their rich, pulsating elements sing to us through her beautiful voice, even while Nannertgarrook herself is subjected to the worst of humanity. This sweeping novel asks us to consider who, in colonial history, were the real savages, and what it truly means to be civilised.

'Edgy, gripping and full of menace' Hannah Richell An abandoned resort seems the perfect place to hide, but is Barren Cape a refuge or a trap? Former housemates Mac and Erika are homeless. Well, Erika is fine, she just has to live with her parents until she can find another rental. Mac's situation is much worse – family isn't an option and she's surfing the couches of her increasingly exasperated friends. Driving around one lonely afternoon, Mac discovers Barren Cape. Once destined to be a luxury escape, now it's just wire fence and gray cement. It's stark, but quiet. There's no harm in staying a little while… From the bestselling author of The Rush comes a spine-chilling thriller about what happens when people are pushed to the edge and forced to make unthinkable choices. ‘Taut, terrifying and timely’ B.M. Carroll ‘Prak’s books keep you reading long into the night’ Vikki Petraitis

The fifth book in Lynda's brilliant Detective Jack Warr crime series.

Wuthering Heights is a wild, passionate story of the intense and almost demonic love between Catherine Earnshaw and Heathcliff, a foundling adopted by Catherine's father. After Mr Earnshaw's death, Heathcliff is bullied and humiliated by Catherine's brother Hindley and wrongly believing that his love for Catherine is not reciprocated, leaves Wuthering Heights, only to return years later as a wealthy and polished man. He proceeds to exact a terrible revenge for his former miseries. The action of the story is chaotic and unremittingly violent, but the accomplished handling of a complex structure, the evocative descriptions of the lonely moorland setting and the poetic grandeur of vision combine to make this unique novel a masterpiece of English literature.

Anne of Avonlea continues Anne's story. Now half-past sixteen but as strong-headed and romantic as ever, Anne becomes a teacher at her old school and dreams of its improvement. But her responsible position and mature ambitions do not prevent her entanglement in the scrapes that still seem to beset her in spite of her best intentions.

Tweedledum and Tweedledee, the Mad Hatter, the Cheshire Cat, the Red Queen and the White Rabbit all make their appearances, and are now familiar figures in writing, conversation and idiom. So too are Carroll's delightful verses such as The Walrus and the Carpenter and the inspired jargon of that masterly Wordsworthian parody, The Jabberwocky.

Little Women is one of the best-loved children's stories of all time, based on the author's own youthful experiences. It describes the family of the four March sisters living in a small New England community. Meg, the eldest, is pretty and wishes to be a lady; Jo, at fifteen is ungainly and unconventional with an ambition to be an author; Beth is a delicate child of thirteen with a taste for music and Amy is a blonde beauty of twelve. The story of their domestic adventures, their attempts to increase the family income, their friendship with the neighbouring Laurence family, and their later love affairs remains as fresh and beguiling as ever. Soon after the success of Little Women, Louis May Alcott wrote a sequel called Good Wives. In the U.K. and around most of the world, this has continued to be published as a separate book, but many American editions have incorporated both books under the title of Little Women. Readers should note that our editions do not contain material from Good Wives unless specifically stated.

Jane Eyre ranks as one of the greatest and most perennially popular works of English fiction. Although the poor but plucky heroine is outwardly of plain appearance, she possesses an indomitable spirit, a sharp wit and great courage. She is forced to battle against the exigencies of a cruel guardian, a harsh employer and a rigid social order. All of which circumscribe her life and position when she becomes governess to the daughter of the mysterious, sardonic and attractive Mr Rochester. However, there is great kindness and warmth in this epic love story, which is set against the magnificent backdrop of the Yorkshire moors. Ultimately the grand passion of Jane and Rochester is called upon to survive cruel revelation, loss and reunion, only to be confronted with tragedy.

Wilde's only novel, first published in 1890, is a brilliantly designed puzzle, intended to tease conventional minds with its exploration of the myriad interrelationships between art, life, and consequence. From its provocative Preface, challenging the reader to believe in 'art for art's sake', to its sensational conclusion, the story self-consciously experiments with the notion of sin as an element of design. Yet Wilde himself underestimated the consequences of his experiment, and its capacity to outrage the Victorian establishment. Its words returned to haunt him in his court appearances in 1895, and he later recalled the 'note of doom' which runs like 'a purple thread' through its carefully crafted prose.

Hamlet is not only one of Shakespeare's greatest plays, but also the most fascinatingly problematical tragedy in world literature. First performed around 1600, this a gripping and exuberant drama of revenge, rich in contrasts and conflicts. Its violence alternates with introspection, its melancholy with humour, and its subtlety with spectacle. The Prince, Hamlet himself, is depicted as a complex, divided, introspective character. His reflections on death, morality and the very status of human beings make him 'the first modern man'. Countless stage productions and numerous adaptations for the cinema and television have demonstrated the continuing cultural relevance of this vivid, enigmatic, profound and engrossing drama.

Mary Lennox was horrid. Selfish and spoilt, she was sent to stay with her uncle in Yorkshire. She hated it. But when she finds the way into a secret garden and begins to tend to it, a change comes over her and her life. She meets and befriends a local boy, the talented Dickon, and comes across her sickly cousin Colin who had been kept hidden from her. Between them, the three children work astonishing magic in themselves and those around them. The Secret Garden is one of the best-loved stories of all time.

The magical Peter Pan comes to the night nursery of the Darling children, Wendy, John and Michael. He teaches them to fly, then takes them through the sky to Never-Never Land, where they find wolves, Mermaids and Pirates. The leader of the pirates is the sinister Captain Hook. His hand was bitten off by a crocodile, who, as Captain Hook explains 'liked me arm so much that he has followed me ever since, licking his lips for the rest of me'. After lots of adventures, the story reaches its exciting climax as Peter, Wendy and the children do battle with Captain Hook and his band.

Through the Looking-Glass the sequel to Alice's Adventures in Wonderland, containing the famous illustrations by Sir John Tenniel. No greater books for children have ever been written. The simple language, dreamlike atmosphere, and fantastical characters are as appealing to young readers today as ever they were. Meanwhile, however, these apparently simple stories have become recognised as adult masterpieces, and extraordinary experiments, years ahead of their time, in Modernism and Surrealism. Through wordplay, parody and logical and philosophical puzzles, Lewis Carroll engenders a variety of sub-texts, teasing, ominous or melancholy. For all the surface playfulness there is meaning everywhere. The author reveals himself in glimpses.

Its lyricism, comedy (both broad and subtle) and magical transformations have long made A Midsummer Night's Dream one of the most popular of Shakespeare's works. The supernatural and the mundane, the illusory and the substantial, are all shimmeringly blended. Love is treated as tragic, poignant, absurd and farcical. 'Lord, what fools these mortals be!', jeers Robin Goodfellow; but the joke may be on him and on his master Oberon when Bottom the weaver, his head transformed into that of an ass, is embraced by the voluptuously amorous Titania. Recent stage-productions of A Midsummer Night's Dream have emphasised the enchanting, spectacular, ambiguous and erotically joyous aspects of this magical drama which culminates in a multiple celebration of marriage.