Walking Away
Richard Michael O’Meara’s Walking Away, the first book in the Times of Joy series, follows John Patrick Joy from the devastation of Ireland’s Great Hunger into the ranks of the British Army and, eventually, the Crimean War. John’s journey begins with the death of his mother and carries him through relief-road labor, work transporting bodies, military service in Barbados and Nova Scotia, and the battles of Alma, Balaclava, and Inkerman. O’Meara keeps this large historical canvas grounded in immediate human needs. Food, dry boots, clean water, warm clothing, and a safe place to sleep often matter more than politics or military strategy.
The novel’s strongest passages show history pressing directly against ordinary people. Its depiction of the famine is physical and unsettling, filled with cold mud, diseased potatoes, empty stomachs, and families forced into impossible choices. John survives by repeatedly walking away, but the title’s central action gradually becomes more than escape. Walking is his method of grieving, working, fighting, and continuing when he can’t make sense of what’s happened. His service in the British Army adds another layer to that struggle, since the institution that feeds and clothes him also subjects him to brutal discipline and draws him into violence against other desperate people.
John’s friendships with Michael Danaher and Rather Murray give the story much of its warmth. Their evenings learning to read, writing letters, discussing faith, and listening to A Christmas Carol create welcome pockets of tenderness within the harsher episodes. John’s letters to his dead mother are especially affecting because they let him admit fears and doubts he rarely voices elsewhere. The novel favors an expansive, episodic style, lingering over military drills, barracks routines, equipment, punishment, and battlefield confusion. Some of those extended passages slow the momentum, but they also build a convincing picture of a common soldier’s life and make the losses in Crimea feel personal rather than statistical.
I’d recommend Walking Away most to readers who enjoy historically detailed fiction about the Irish famine, the Irish diaspora, and nineteenth-century military life. It should also appeal to readers interested in stories about rank-and-file soldiers, moral injury, faith under pressure, and the complicated bargains people make to survive. John isn’t presented as a spotless hero. He’s angry, compassionate, violent, loyal, and often uncertain, which makes him a fitting witness to an age shaped by displacement and war. By the end, his decision to keep moving carries a modest but persuasive hope that endurance can preserve a person’s dignity even after nearly everything else has been taken.
Brothers, Hope & Hearts
Brothers, Hope & Hearts by Sophie Bartow is a warm, suspenseful small-town romance built around two people who already know how much they matter to each other, but haven’t yet figured out what to do with that knowledge. Pediatrician Elsa Winters leaves New York for Swan Harbor looking for a life that feels more like her own, while firefighter-paramedic Liam Reade follows with far more emotional baggage than he initially wants to admit. Their relationship has history, chemistry, frustration, and genuine tenderness, which gives the romance an authentic feel from the start. Swan Harbor also plays an important role in the story. It’s a place where neighbors notice things, friends interfere with good intentions, and belonging becomes something both Elsa and Liam have to decide they’re willing to accept.
What gives the book its emotional weight is the way Bartow places romance alongside family responsibility. Elsa’s discovery that her mother, Patty, has Alzheimer’s changes the stakes almost immediately. The storyline is handled through the practical and personal consequences of the diagnosis, from Elsa’s guilt over what she missed to the painful process of deciding how Patty can live safely without stripping away her dignity. Liam’s response to that crisis says as much about his character as any declaration of love could. He shows up, listens, helps, and gradually learns that being needed doesn’t have to mean being trapped. At the same time, Elsa learns that accepting someone’s support doesn’t diminish her independence. Their relationship grows because both of them begin making room for another person instead of simply wanting one.
Running beside the romance is a mystery and danger plot connected to Liam’s brother Killian, his former undercover identity, and the lingering threat of Santora’s criminal organization. Photographs, warnings, surveillance, a bomb, compromised law enforcement connections, and uncertainty about who can be trusted keep the story moving beyond the relationship drama. That suspense thread also gives Liam’s fear of losing Elsa something concrete to push against. His tendency to keep people at a distance stops being merely an emotional habit when danger reaches his doorstep. By the later chapters, the romantic and suspense plots are working toward the same idea: Liam can’t build a future by trying to control every possible loss. He has to choose it while knowing there are no guarantees.
The heart of Brothers, Hope & Hearts is right there in its title. Hope becomes a deliberate choice, love becomes something demonstrated in daily decisions, and the idea of listening to your heart runs through the novel without staying confined to the romance. Elsa finds a home, Liam finds a way to believe in permanence, Patty’s changing needs reshape the meaning of family, and the wider Swan Harbor community gives their future a sense of roots. The relationship feels earned because it grows out of everything Liam has spent the book learning about openness, trust, and showing up. By the time he and Elsa start talking about building their future “brick by brick,” the phrase carries the full weight of the story. Brothers, Hope & Hearts is a tender reminder that forever isn’t something we find waiting for us. It’s something we choose, build, and keep choosing together.
Pages: 430 | ASIN : B08HRKXHLR
A Clockwork Universe: URUT (Unified Rotating Universe Theory)
A Clockwork Universe by E. Hughes is a concise work of metaphysics and cosmology that revisits some of humanity’s oldest questions about space, motion, gravity, time, and the structure of the universe. Hughes describes the book as an examination of “the nature of nature,” which captures its approach well. Drawing on the history of philosophy, classical and modern physics, astronomy, and contemporary cosmological research, the book develops a mechanistic view of the universe centered on rotation and relational motion. Its scope is broad, but the writing remains approachable, inviting readers into a philosophical inquiry.
One of the book’s most distinctive features is its reconsideration of concepts that are often treated as settled or self-evident. Hughes asks readers to think carefully about what we mean when we use words such as space, time, gravity, expansion, and dimension, and whether the models used to describe physical reality should ever be confused with physical reality itself. URUT places particular emphasis on the distinction between mathematical description and tangible phenomena, while still drawing on established scientific observations and research. The result is a work that moves between Descartes, Einstein, Gödel, astronomy, thermodynamics, and more recent cosmological studies while maintaining a consistent philosophical focus.
Hughes writes in a direct, conversational style and frequently uses thought experiments and familiar physical relationships to make difficult ideas easier to visualize. That accessibility is one of the book’s strengths. The discussion can move from the history of cosmology to questions about the nature of space or the meaning of time without feeling like a survey course. Instead, the chapters build on one another as parts of a larger examination of whether the universe might be understood through motion, rotation, emergence, and observable relationships. The book also leaves room for the reader to question, test, and reflect on its ideas.
I’d recommend A Clockwork Universe to readers who enjoy metaphysics, cosmology, the philosophy of science, and serious examinations of foundational ideas. It should be especially engaging for people who are interested in Einstein, Gödel, the history of cosmological thought, or the relationship between mathematical models and physical reality. Readers who enjoy books that ask them to reconsider familiar concepts from a different philosophical perspective will find a great deal to think about here. Hughes invites the reader into a larger conversation about how we understand the universe and our place within it, while leaving enough unanswered on the page to make discovering URUT firsthand part of the experience.
Pages: 58 | ISBN: 1969853107
The Secret of Charley Grace
Colin Kersey’s The Secret of Charley Grace is a contemporary action thriller that starts at full speed and keeps widening its scope. Fourteen-year-old Charley Grace has spent most of her life hiding in Mexico without understanding why, until an attack leaves her alone and forces her north. Her path eventually crosses with Ray Nelson, a fugitive truck driver carrying plenty of danger from his own past, and Patsy, the remarkably perceptive dog who brings them together. What begins as a tense survival story quickly becomes a cross-border crime thriller involving the Sinaloa Cartel, Chinese intelligence, American government agencies, human traffickers, and anyone else who realizes how valuable Charley might be. The setup gives the novel a cinematic feel from the beginning, while the mystery surrounding “Alpha Girl” provides the larger conspiracy driving the chase.
The novel’s most effective ingredient is the relationship that gradually forms around Charley. Ray is already living under an assumed identity when he finds her, and his decision to protect this frightened teenager gives his own fugitive life a new purpose. Veterinarian Anita Cosay soon becomes part of that circle, along with Patsy and an increasingly colorful group of allies. Kersey makes found family as important as gunfights or escapes, and that emotional thread gives this conspiracy thriller more warmth than its body count might suggest. Charley is particularly engaging because she’s capable without seeming untouched by what happens to her. Her martial arts training, intelligence, musical discipline, and ability to think under pressure repeatedly help her survive, but she still grieves, gets scared, wants someone to trust, and desperately misses the family she’s lost. That balance makes her easy to root for.
As a political thriller and biotech techno-thriller, The Secret of Charley Grace goes big. The mystery eventually reaches into CRISPR, experimental genetic engineering, longevity research, pharmaceutical interests, surveillance technology, government secrecy, and the enormous financial value that could be attached to one extraordinary human genome. Charley may represent the possibility of radically extended life and resistance to disease, which turns a fourteen-year-old girl into something governments, corporations, criminals, and wealthy individuals want to possess. Kersey embraces the heightened nature of that premise, throwing his characters through shootouts, kidnappings, cartel pursuits, Las Vegas casinos, human trafficking operations, helicopters, covert agencies, desert hideouts, and eventually an escape by sea. The result is a maximalist suspense novel that frequently reads like an action movie, with short chapters and changing points of view keeping another threat close at hand.
I liked the way all that chaos circles back to the question of who gets to decide the value of a human life. To nearly everyone hunting Charley, she’s genetic material, political leverage, scientific property, or a fortune waiting to be collected. To Ray, Anita, Patsy, and the people willing to risk themselves for her, she’s simply Charley. That distinction gives the action thriller its emotional center. By the final chapters, the scientific secret has become public enough to reduce its usefulness as something that can be privately controlled, but Charley herself can never completely escape being hunted. Her real victory is more personal: she ends the story surrounded by people she can call Mom, Dad, aunt, and uncle, while Ray finally finds the family he thought his old life had taken from him. The Secret of Charley Grace combines the velocity of a crime thriller, the paranoia of a conspiracy thriller, the ideas of a biotech thriller, and the emotional pull of a found-family story into one ambitious, eventful ride.
Pages: 390 | ASIN : B0HD97DY99
Good Intentions
Frederick Groya’s Good Intentions is an intimate, historically grounded novel about the distance between the life a person is taught to want and the life that ultimately proves authentic. Beginning with Tom Rudnik at a personal low point on New Year’s Eve 1990, the novel reaches backward to trace the choices that brought him there, from law school and marriage to fatherhood, professional ambition, sexual secrecy, and divorce. Tom’s struggle is shaped by three powerful forces: his desire for his father’s approval, the Catholic moral framework of his upbringing, and his attraction to men. Groya establishes that structure early with the line, “Tom Rudnik had three secrets, and in a few minutes, he would admit to one of them.” What follows is less a story of sudden revelation than a long examination of how secrecy, expectation, and sincere intentions can accumulate into consequences that no one originally intended.
One of the novel’s strongest qualities is the attention it gives to both Tom and his wife, Amelia. Amelia enters the marriage carrying her own history of poverty, family instability, artistic ambition, and determination to construct a better life. Her desire for a beautiful home, professional recognition, and control over her surroundings grows from experiences that make those needs psychologically convincing. Tom, meanwhile, genuinely loves Amelia and their son, Nicky, even as he divides himself between incompatible versions of his identity. The alternating perspectives give the deterioration of their marriage unusual depth because the same conflicts can look entirely different from opposite sides. Neither character experiences the marriage as a simple contest between right and wrong. Nicky becomes the emotional center of the book, particularly for Tom, whose commitment to being a good father eventually proves more enduring than his ambitions for wealth, status, or conventional respectability.
Groya also gives the novel a strong sense of time and place. Kansas City, Washington, Rehoboth Beach, and Provincetown aren’t merely settings; they mark different stages in Tom’s understanding of himself. The AIDS crisis runs through the narrative as a source of fear, grief, caution, and historical pressure, while the professional culture of 1980s and early 1990s Washington adds another realm in which appearances carry consequences. Domestic details, renovations, office politics, church services, music, restaurants, and changing social attitudes build a densely observed period world. The novel’s recurring images of roads, doors, darkness, houses, and divided spaces reinforce Tom’s habit of compartmentalizing his existence. At one of his lowest points, he recognizes that “He was two halves of a person, and the two halves didn’t quite make a whole.” The book’s explicit sexual scenes serve that same psychological purpose, charting the progression from suppressed desire to compulsive gratification and, eventually, to an understanding that physical freedom alone can’t provide intimacy.
By the end, Good Intentions develops into a novel about accountability as much as self-acceptance. Tom’s eventual relationship with Jason gives him the possibility of joining love, sexuality, fatherhood, and ordinary domestic life within a single identity, while Amelia begins building a more stable life of her own. Yet Groya doesn’t treat personal authenticity as an eraser of earlier harm. Tom’s growth requires him to recognize what his secrecy cost Amelia and Bill, just as Amelia comes to acknowledge the part her anger and unhappiness played in the collapse of the marriage. That emphasis gives the title its significance: good intentions matter, but they don’t absolve people from examining what their choices have done to others. The final scene, in which Tom prepares to tell Amelia the truth he has withheld, ends the novel at an apt point of moral completion. Good Intentions is a thoughtful family and identity novel about becoming honest enough to live as one person, and responsible enough to accept the full history of how that person came to be.
Pages: 327 | ASIN : B0HD9VXYPR
The stalker is much more personal.
Plans follows a widowed cybersecurity professor and her daughters whose long-awaited trip to Israel becomes a fight for survival against a violent stalker and an international conspiracy. What was the inspiration for the setup of your story?
I have worked in a bank related business for more than ten years. There are many stories of people’s lives affected or even crushed by scams and identity theft, including my own. When I started this series more than fourteen years ago, the goal was to quickly turn the story into a historical novel. As ideas matured in my writing, it became clear that using a current issue would be a good hook for the first story. I turned to the business articles I had read on the issue of scams and to my sister-in-law, who worked in banking. These ideas became Aggie Haterius’ career.
The stalker is much more personal. Family history and a boss who was too eager for me to visit his home became Dr. Robert Sterling. The international conspiracy came from the business articles reporting that many scammers tie back to a few Asian countries. Also, my interest in procedural crime dramas influenced me.
The relationships among Aggie, Kae, Domi, and Claudia are central to the novel. How did you develop each family member’s distinct personality and point of view?
I am one of twenty-five cousins on my mother’s side of the family. I grew up close to most of them. Aggie is a combination of my mother, my aunts, and, of course, me. I created Kae, Domi, and Claudia from cousins, co-workers, and a little from my children. I gave each of them their own point of view to make it realistic. Parents and children don’t see the world the same. This will be explored more in the second book, “NO PLANS”.
Claudia’s desert excursion gives her an opportunity to step out of her sisters’ shadows. Why was that moment important to her character arc?
When the story opens, Claudia seems almost childlike, still playing pretend and having tantrums. During the course of the book, she realizes the European trip belongs exclusively to her sisters. This leaves her unanchored and open to belittlement by her sisters. We have all lived with moments where we don’t belong or are on the outside of a group looking in. Claudia represents all of us at one moment or another. The desert excursion gave her a sense of belonging and some importance; a way to show her sisters that imagination and reality can build together. The older sisters have forgotten that imagination is important for building and creating.
In the long term, the desert excursion will give Claudia another much deeper arc, learning how to forgive yourself when the unexpected happens.
Also, these stories began because I challenged a child to do their homework for English class, and I would write a fiction story to match the required page count. I just kept writing after reaching the goal. Then the fun began. I had to tell them what I had written that week and what ideas were coming. It’s great when a teenager asks their parent to tell them about a story being written!
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Their trip starts well; however, an unwelcome person shows up, causing many unexpected events and causing trauma for Aggie and her daughters, who witness one of the attacks on their mother. How will Aggie handle the derailment of their life?
Kittens, Puppies & Love
Sophie Bartow’s Kittens, Puppies & Love is a small-town romance that mixes a slow-building relationship with an animal-centered mystery and a large cast of Swan Harbor regulars. Veterinarian Emma Foster arrives in town determined to build her practice and keep her life firmly under control, while detective Killian Reade has spent years relying on charm, confidence, and emotional distance. Their first encounters are prickly and funny, mostly because Emma has little patience for Killian’s practiced flirtation. What makes the story work is that their attraction doesn’t immediately erase those differences. Instead, the book lets them circle each other, misread each other, become friends, and gradually discover the people behind the defenses they’ve both learned to use.
The animals are woven surprisingly deeply into that process. The kittens, puppies, injured dogs, rescued cats, and other veterinary cases give Emma and Killian reasons to work together, but they also reveal character. Emma is at her most open when she’s caring for an animal, while Killian’s awkward attempts to learn scientific animal names, handle tiny kittens, and understand veterinary life show a softer side of him long before he’s comfortable talking about his past. At the same time, a series of suspicious incidents involving dogs develops into the book’s mystery. That plot becomes increasingly serious as Killian searches for a connection between the cases, and its eventual resolution brings the book’s recurring interest in identity, masks, and hidden pain into sharper focus. The solution is deliberately dramatic, so readers who prefer their mysteries grounded in quieter realism may find that portion of the story more heightened than the romance surrounding it.
Bartow’s approach reminded me of Robyn Carr’s Virgin River books, especially in the way the town itself becomes part of the love story. Like Carr, Bartow surrounds the central couple with friends, relatives, coworkers, local businesses, weddings, dinners, and people who have opinions about everybody else’s romantic life. Swan Harbor feels less like scenery and more like an ongoing community that Emma has to decide whether she wants to belong to. Bartow’s version is lighter and more openly playful, with recurring animal jokes, flirtatious banter, pop-culture references, and Killian’s increasingly enthusiastic education in all things feline and canine. There’s also a strong series feel to the supporting cast, since many side characters arrive with histories and relationships of their own, giving the sense that Emma and Killian’s romance is one chapter in a much larger Swan Harbor story.
The book is interested in letting people revise the stories they’ve told themselves. Emma begins with a life organized around goals because goals feel safe, while Killian has convinced himself that charm without attachment is enough. Their relationship gradually asks both of them to make room for something less controllable. Family relationships receive similar attention, particularly as Emma reconsiders her complicated history with her parents and Killian confronts the experiences that shaped the man he became. By the time the romance reaches its payoff, the engagement feels connected to more than attraction. It represents Emma choosing community and emotional risk, and Killian choosing commitment over performance. Kittens, Puppies & Love is a warm, busy, affectionate romance about two guarded people discovering that love can grow through friendship, trust, shared responsibility, and, apparently, an impressive number of kittens.
Pages: 354 | ASIN : B08CQGFY8F
A Very Vivid Dream
The Demon’s Spawn follows twin sisters separated at birth whose psychic bond draws them into a centuries-old battle between good and demonic evil. What was the inspiration for the setup of your story?
To be honest about two years ago I had a very vivid dream which was unusual for me. I decided to jot down what I could remember and was surprised at just how much came back to me. I found I couldn’t stop writing so went out and bought a laptop. The story just flowed and by the time I got to about 130k words I decided that I needed to break this into two novels. Then the idea came to me for the ending so this became a trilogy.
Why did you choose a sprawling, multi-generational structure for the story?
The first part of the story started with an innocent woman being accused of being a witch, and it got me wondering how I could bring what happened into the modern day. The twins she was carrying was the connection. Then the idea of where the twins came from, who fathered them followed and it just flowed from there. I think it gave me more scope to add to the characters and the story.
Did you want readers to understand Baleth’s intentions before the characters did?
I wanted the readers to see that Baleth’s intentions were always clear from the onset of the encounter with Elspeth and the reason behind this encounter. Baleth was all about revenge and how to get it. I hope the readers see him as I intended, ruthless, evil and manipulative in his pursuit of revenge.
What question do you most hope readers ask themselves after finishing The Demon’s Spawn?
I would like them to be asking what Baleth needs to do to redeem himself in the eyes of his master and who he will use to get this redemption. Will he actually achieve redemption after what happened with the twins.
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Salem, 1693: as witch-hunt hysteria tightens its grip, a young wife named Elspeth becomes the target of something far older than fear. Marked by a demon’s vengeance and condemned by the town that should have protected her, she dies carrying a curse that refuses to burn with her.
Three hundred years later, twin girls are born in London—and immediately torn apart. Eliza is raised in love, protected from the truth of her origins. Eloise grows up unwanted, watched over by a darkness that whispers, encourages, and waits. Though separated by an ocean, the sisters remain bound by a brutal psychic connection: every act of violence Eloise commits tears through Eliza, body and soul.
As Eliza follows the trail to Salem, she discovers that some monsters are made, some are born—and some are family.
