Artful, gothic-tinged...an immersive, chilling treat for suspense fans. --Publishers Weekly

For fans of Sarah Penner and The Foundling comes a slow-burn gothic mystery following Gillian, a young girl enthralled by the enigmatic Claybourne sisters, their house at Thornleigh Hall, and the tragedy that binds them together for good.

To become a Claybourne girl, she'll have to betray one first.

1938. Gillian Larking, lonely and away at boarding school, is used to going unnoticed. But then she meets Violet Claybourne, her vibrant roommate who takes Gilly under her wing. Violet is unlike anyone Gilly has ever met, and she regales Gilly with tales of her grand family estate and her two elegant sisters. Gilly is soon entranced by stories of the Claybournes, so when Violet invites Gilly to meet her family at Thornleigh Hall, she can't believe her luck.

But Gilly soon finds that behind the grand façade of Thornleigh Hall, darkness lurks.

Dazzled by the crumbling manor and Violet's enigmatic sisters, Gilly settles into the estate. But when a horrible accident strikes on the grounds, she is ensnared in a web of the sisters' making, forced to make a choice that will change the course of her life forever. Because the Claybournes girls know how to keep secrets, even at the cost of one of their own.

With ensnaring prose and layers of friendship, privilege, mental health, and more, The Undoing of Violet Claybourne is a poignant book club read with characters you won't soon forget.

One of People Magazine's must-read books!

A clever, keep-'em-guessing murder mystery, an empathetic yet realistic portrayal of the toll dementia takes, and a meditation on how the brain can bury the most tragic memories...An outstanding must-read. --Booklist, STARRED review

I kept your secret Lucy. I've kept it for more than sixty years...

It is 1951, and at number six Sycamore Street fifteen-year-old Edie Green is lonely. Living with her eccentric mother and her mother's new boyfriend, she is desperate for something to shake her from her dull, isolated life.

So when the popular, pretty Lucy Theddle befriends Edie, she thinks all her troubles are over. Even though Lucy has a secret, one Edie is not certain she should keep.

Then Lucy goes missing.

Now in 2018, Edie is eighty-four and still living in the same small town, when one afternoon she glimpses Lucy Theddle, still looking the same as she did at fifteen. Her family write it off as one of her many mix ups, there's a lot Edie gets confused about these days. But Edie knows she's the key to finding Lucy.

Time is running out and Edie must piece together the clues before Lucy is forgotten forever.

In 1996, Reality Street published Out of Everywhere, the first anthology of its kind of innovative poetry by women in North America and the British Isles. Here, 20 years later, is the long-awaited follow-up, including the following 44 poets: Sascha Akhtar, Amy De'Ath, Mei-mei Berssenbrugge, Andrea Brady, Lee Ann Brown, Elizabeth-Jane Burnett, Mair ad Byrne, Jennifer Cooke, Corina Copp, Emily Critchley, Jean Day, Rachel Blau DuPlessis, Carrie Etter, Kai Fierle-Hedrick, Heather Fuller, Susana Gardner, Susan Gevirtz, Elizabeth James/Frances Presley, Lisa Jarnot, Christine Kennedy, Myung Mi Kim, Frances Kruk, Francesca Lisette, Sophie Mayer, Carol Mirakove, Marianne Morris, Er n Moure, Jennifer Moxley, Redell Olsen, Holly Pester, Vanessa Place, Sophie Robinson, Lisa Samuels, Kaia Sand, Susan M Schultz, Eleni Sikelianos, Zo Skoulding, Juliana Spahr, Elizabeth Treadwell, Catherine Wagner, Carol Watts, Sara Wintz, Lissa Wolsak. A limited-edition CD of audio work by nine of these poets accompanies this anthology, and is available for sale separately, exclusively from the Reality Street website while stocks last.

Click on Download / View above to download your exclusive e-card!

Winner of the inaugural Jane Martin Prize for Poetry.

Love / All That / & OK, an anti-confessional by experimental British poet Emily Critchley, brings together a diverse range of work previously published in chapbooks since 2004, and includes new material from the sequences 'Poems for Luke', 'The Sonnets' and 'Poems for Other People'.

Her formally adventurous poetry implicates its author in, then deftly upends, the conventions - political, sexual, intellectual, and emotional - that threaten to diminish the purview of any fierce, bright, 21st-century female. Critchley practises a brisk vernacular anti-lyric, often in the name of love and always in a language that (pounding Pound) 'hath 'ham' innit.' As an antidote to a future that 'may be very wrong, ' these poems are absolutely right.
Jean Day

The project is high electrics and considerable. I particularly care for the frailty and edges of coherence loss. It's the intelligent frays that push under my thought and matter most.
Allen Fisher

Really intelligent, coquette, fuck-you work... a space for a new kind of anti-misogynism in poetry.
Marianne Morris

Emily Critchley was born in Athens in 1980 and studied at the Universities of Oxford, Bristol and Cambridge. In 2006 she organised the first experimental women's poetry festival at Cambridge University and in 2010 she curated the London Cross-Genre Festival at the University of Greenwich, where she currently lectures in English and Creative Writing.

' Emily Critchley] has incorporated influences from popular culture and from a more street-wise feminist critique. Her poetry ... is combative, intellectual and probing but this seems tempered by an upbeat and more popular sense of engagement, which makes her unusual and interesting ...] a genuine form of public poetry, which can embrace both pleasure and critique without being either chic posturing or a sell-out to the market, such as it exists within poetry publishing The thing I most enjoy about Critchley's poetry is the way in which she manages to suggest an ongoing sense of 'self-dialogue' within her writing. Whether she's talking about love ...] or politics or art or academic work, there's always an inner-dialogue going on, a self-assertiveness questioned in the light of a relationship to the 'public sphere'.' --Steve Spence