Bücher veröffentlicht von Wild Pressed Books

Midwife Lucie Smith had expected to live a retired life of quiet contemplation, somewhere with a small garden to tend and room for a few hens. However, 1666 sees her with no option but to keep serving remedies in her late husband's shop at the sign of the Three Doves, since no new apothecary can be found for the town of Tupingham.Not only that, but Lucie's house gradually refills with people in need of shelter and care. Her son Simon comes home, seeking refuge from the Great Fire of London. Teenaged twins have been abandoned by their family following a solemn discovery in an outside privy. And refugees from the fire have started to flood into the town.Amidst all this, Lucie is confronted with painful memories of her unresolved losses from years gone by. In a vulnerable state, she succumbs to a winter sickness which almost kills her. With two men vying for her hand in marriage, and Simon attempting to steer her in a new direction, she must decide which path she should take and whose intentions she can trust. One thing is certain, Lucie will be the one to determine her own course.

The Coconut Girl is a collection of poems containing material that is from the Indian, female point of view with an insight into Punjabi culture. We also follow the author through the hallucinogenic state of the brain following cancer treatment, and back again into her experience of life in multi cultural Britain.The Coconut Girl features poetry of deep imagery, not least in some of the poems exploring the experience of the female body post-operatively, such as in My Womb Is A Park Of Carnage.

All Maya Galen wanted was a happy family, stifling her inner urges to explore the wider world for the sake of being there for her children. But parenting with her husband, Con, wasn't always easy. Their eldest son, Jamie, broke off all contact some years ago and now Joe, the apple of her eye, has done the same after an argument with his parents about his chosen way of life. Maya and Con are left rattling around 'The Cottages' - their enormous home in a Lincolnshire village, wondering what they did wrong.When they are called to Australia to identify the body of a young man, Maya is given her son's journal. After a sleepless night she makes the decision to follow in her youngest son's footsteps and become a vagabond, leaving her husband and daughters to return to the UK without her. From now on she needs to rely on her own physical and emotional strength.Following Joe's hand-drawn maps and journal entries, Maya travels from Australia to Denmark and beyond, meeting many young people like Joe along the way and trying to discover what it means to be alive. As months turn into years she can't bear to go back to the opression of her perfect home. Slowly, she comes to understand that what she is discovering is her most basic human self. Another family crisis, involving one of her twin daughters, eventually forces Maya to return home. As she treads carefully through the wreckage of her marriage, unfinished business is tied up and the family once again becomes complete, but in a different way from before.

A northern coastal city. A sinister, extra-dimensional intelligence is taking hold...Joe Hakim draws the reader into the heart of a disenfranchised community impacted by strange forces beyond its control. A group of friends: separated by time, choices, and circumstance are reunited by their shared encounters with an uncanny presence that looms over their lives. The seeds were sewn in their childhoods, now they must try and understand what is happening, before it is too late.Raw and uncompromising, The Community fuses social commentary with a dose of sci-fi horror, to cast a light on an existence spent in the Void.

Gudbjorg Thorisdottir is born into a happy Icelandic family in 1952, the second child of loving parents and followed by three further siblings. They live upstairs in Mörk, a painted corrugated iron house in Reykjavik that has been in the family for generations. Their home is dominated by Gudgjorg's grandfather, who lives in the ground-floor apartment with her aunt, uncle and cousins. Next door to Mörk is Little-Farm, the original old stone house with a coal cellar that Gudbjorg calls the Black Hole.Gudbjorg is frightened of the Black Hole because horrible things happen down there. She lives with a secret that she can't tell anybody, because Grandpa says that her family will lose their home if she does. Grandpa buys her presents and gives her caramels in a lovely white jug, so that makes him a good person, doesn't it?On the wall above Grandpa's bed is a black and white reproduction of a Madonna and Child that Gudbjorg likes to gaze upon, as it comforts her when Grandpa is making her feel bad.When she has grown into a teenager, and her family has moved away from Mörk, she realises that what has happened throughout her childhood is wrong. But still she takes the blame, and the shame of her experiences upon herself. After all, she seems to be the only girl in the family that this has happened to.Gudbjorg emerges into womanhood accompanied by the ghost of Grandpa's abuse. Every time she wants to say anything, the ghost tightens its hand over her mouth and she remains dumb. It's not until she takes a new job as Principle of a Reykjavik primary school that she accepts she needs to get help.It's Gudbjorg's daughter, Thora Karitas Arnadottir, who has taken her mother's true story and brought it out into the light. Weaving together fact, fiction and poetic prose, her resulting testament bears all the magic of a fairy tale. A fairy tale incorporating endurance and survival, violence and tenderness and the heroism of a character who refuses to be crushed by the monster at the bottom of the Black Hole.Despite the darkness at the heart of Gudbjorg's story, Thora Karitas has created a compelling narrative nonfiction account of life in Iceland from the time of her great-great-grandparents, right into the present. A story full of rural charm and ancestral memories, often encapsulated in the familial objects Gudbjorg has collected around her - each opening a window into the past and placing us in a particular moment - bringing back into sharp focus members of her family and ways of life that have long passed.

In September 2016, Lauren Wilson is travelling by ferry to the Outer Hebrides, about to begin a new job as a children's social worker. She's also struggling to come to terms with the recent drowning of a Sheena, a teenage girl she had deeply cared for.Engrossed in her book, when somebody sits opposite her at a table on the ferry, Lauren refuses to look up, annoyed at having her privacy disturbed. But a hand is pushing a mug of tea across the table, and a livid scar on the back of the hand releases a flood of memories.Lauren studies the hand on the table in front of her, the line of the scar drawing a map of the past in her mind. She was the one who created the scar, not long before her relationship with the love of her life ended almost thirty years ago. Lauren hasn't seen Neil since she walked out of their shared life, unable to forgive either herself or him for a decision he strongly pressured her to make.She's not ready to meet his eyes, not yet. From his scar to his wrist bone, following his arm upwards and across his shoulder to his collarbone, his chin and the lower part of his face; Lauren remembers incidents from their past and tries to work out what caused their life to go so horribly off-track.When she finally meets his eyes and they speak to each other for the first time, Lauren believes she has set her life on a new course. But her gain will result in losses for others. Is this really what she wants to happen?Some people believe in the existence of a parallel universe. Does Lauren have a retrospective choice about the outcome of her terrible recent accident, or is it the bearer of that much older scar who has the power to decide what happens to her life now? The gripping story of Sea Babies is inspired by the vast and raw landscapes of the Outer Hebrides, by the fraught journeys of refugees from one home to the hope of another across the sea, and also by artist Marina Abromovic's 2010 MoMA performance: The Artist is Present, in which she spent sixty seconds staring into the eyes of her former lover.Set mainly in the Outer Hebrides and Edinburgh from the 1980s to the present, Sea Babies is a potent emotional, psychological drama with a poignant twist in the tale. Sea Babies explores the more difficult aspects of relationships, the idea of choices and responsibility, and the refugee in all of us.

Every poem in GHOSTS touches on the theme in some way, whether it be overtly as in the title poem, or more succinctly, as in Dragonfly - in which the poet explores ephemeral elements of his perception of his mother.Nick Conroy's words touch the heart of his subject matter, and the reader's emotions at the same time, involving family, identity - and potential or actual loss.This is a strong, cohesive collection of poems, containing a hard grit which meets a fluid, powerful movement of language to create waves of recognition and understanding. The topics and themes are covered honestly, and with refreshing vulnerability in the language used. In each poem there is something of a journey - involving lostness, a seeking and in the end an acceptance of the events described.Nick Conroy's paged poetry is like the written musical score of his live performance, which has to be seen to be fully appreciated.Nick is currently studying for a Master's in English at the University of Hull. Poetry has always been at the centre of his passion as a writer, and since childhood he's enjoyed spoken word.He moved to Hull in 2014, with an understanding that the city is still revered for its poets. He senses something haunting and intoxicating about Hull, and the community of writing that it holds in high regard.