This hilarious, touching debut novel by Aaron Foley, author of How to Live in Detroit Without Being a Jackass, follows three Black gay millennial men looking for love, friendship, and professional success in the Motor City.  Sud

This hilarious, touching debut novel by Aaron Foley, author of How to Live in Detroit Without Being a Jackass, follows three Black gay millennial men looking for love, friendship, and professional success in the Motor City. Suddenly jobless and single after a devastating layoff and a breakup with his cheating ex, advertising copywriter Dominick Gibson flees his life in Hell's Kitchen to try and get back on track in his hometown of Detroit. He's got one objective -- exit the shallow dating pool ASAP and get married by thirty-five -- and the deadline's approaching fast. Meanwhile, Dom's best friend, Troy Clements, an idealistic teacher who never left Michigan, finds himself at odds with all the men in his life: a troubled boyfriend he's desperate to hold onto, a perpetually dissatisfied father, and his other friend, Remy Patton. Remy, a rags-to-riches real estate agent known as "Mr. Detroit," has his own problems -- namely choosing between making it work with a long-distance lover or settling for a local Mr. Right Now who's not quite Mr. Right. And when a high-stakes real estate deal threatens to blow up his friendship with Troy, the three men have to figure out how to navigate the pitfalls of friendship and a city that seems to be changing overnight. Full of unforgettable characters, Boys Come First is about the trials and tribulations of real friendship, but also about the highlights and hiccups --late nights at the wine bar, awkward Grindr hookups, workplace microaggressions, situationships, frenemies, family drama, and of course, the group chat -- that define Black, gay, millennial life in today's Detroit.

While the war brings out the best in most, it brings out the worst in others, as a young mother soon discovers... A gripping saga of life for those left behind during the war, Pam Evans' When the Boys Come Home is a heart-breaking story of love, family and tragedy that won't fail to enthral. Perfect for fans of Rosie Goodwin and Cathy Sharp. As German bombs wreak havoc on West London, for Morgan's Dairy it's business as usual. But when owner Dai Morgan is killed in an air raid, his daughter Megan is determined to continue in her father's footsteps and she braves the ravaged streets alone to do his milk round by horse and cart. Megan finds comfort in the knowledge that her twin girls are tucked away in a Welsh village, but she worries about her husband, Will, abroad with his platoon. And when Will's best friend, Doug Reynolds, returns, wounded and disfigured, she doesn't hesitate to take the poor man in. However, Doug is not the man she thinks he is. And when the boys come home, Megan has battle scars she can't allow Will to see... What readers are saying about When the Boys Come Home: 'Please, buy or read this "feel good" novel. I am a fan of Pamela Evans anyway, but this one manages to grip the imagination, is hard to put down and keeps the reader up to and including the last page. Heartily recommended!' 'Five stars'

The peculiar and moving story of a Congolese boy's coming-of-age amid the political strife of postcolonial Congo "It is even said-but I admit that it's difficult to believe, even though I got this from my uncle-that when Papa was born, you couldn't follow the World Cup or the Olympics live and that Coca-Cola had yet to spread the selling of soft drinks to our village. Michael Jackson had yet to become famous . . . If all this was really true, I wonder how men managed to fill up the twenty-four hours of the day, three hundred sixty-five days a year." His nickname is Matapari, which means "trouble." He is an African child of the '90s-brilliant, mischievous, postcolonial, postmodern-caught in the crossfire of a chaotically liberated African country. Matapari grows up in a world of talking drums, the Internet, and satellite TV, a world of dictators who remake themselves as democrats overnight. His uncle is a stooge for the dictator; his father is a scholarly recluse obsessed with proving that blacks played key roles in Western history. Matapari is a young man in the middle-but the shrewdness and wit with which he tells his often riotously funny story set him apart from his relatives and countrymen. Emmanuel Dongala uses the ingenious viewpoint of a child to show up the telltale world of adults-and to show how one preserves one's independence in a corrupt and violent society.

In 1918 the Great War has taken so much from so many and it threatens to take even more still from the Hunters, their friends and their servants. Edward, in a bid to run away from problems at home, decides not to resist conscription and ends up at the Front. Sadie's hopes for love are unrequited, and Laura has to flee Artemis House when it is shelled and she finds herself in London driving an ambulance. Ethel, the nursery maid, masks her own pain by caring for other people's children but she must take care not to get too attached. The government has to bring in rationing, and manpower shortages means the conscription age is extended. The Russians have fallen out of the war and a series of terrifying all-out attacks drive the Allies back almost to the Channel, and for the first time England faces the real prospect of defeat. No one can see an end to the war and yet, a small glimmer of hope remains . . . When the Boys Come Home is the fifth book in the War at Home series by Cynthia Harrod-Eagles, author of the much-loved Morland Dynasty novels. Set against the real events of 1918, at home and on the front, this is a vivid and rich family drama featuring the Hunter family and their servants.

Ever since the signing of the Armistice in 1918, theatre has played an important part in reflecting the experience of the 'war to end all wars'. But on the Home Front, what role did those involved with British theatre play during those tumultuous four years and three months? Till the Boys Come Home salutes British theatre in wartime, when theatres became powerful generators for escapism, for stirring patriotism, for sharing experiences of loss and joy – and for raising vast amounts of charity money. It brings to life a Britain where theatre-going peaked in popularity, yet became full of the curious contradictions bred by war. Richly illustrated with original programmes, posters and ephemera, author and critic Roger Foss reveals a theatrical powerhouse, where all sections of the profession – from grand Shakespearian knights to lowly concert party artistes – were doing their bit, both at home and on the front line.