“Me da’s a grand man!” Mary Ann Shaughnessy has spoken; question her who dare. For although Mary Ann may look quite an ordinary small girl from a dockland tenement, always hot in defense of a ne’er-do-well father, she is in fact a one-man army, armoured with faith and possessed of formidable qualities. Set on Tyneside, the part of the world which Catherine Cookson knew and understood so well, this heartwarming and humorously observed book skillfully weds an authentic and unsentimentalized background to the kind of fairytale story that we all like to believe could come true and which the Mary Ann Shaughnessys of this world know to be true.The moral of A Grand Man is simply that faith can move mountains, but the delight of the book lies in the telling and in the character of its heroine as she battles, connives, and bargains to get a better way of life for those she loves and especially for the “grand man” himself. A Grand Man is the first of the Mary Ann stories and was made into a film, Jacqueline, in 1954.

Rory Connor was a gambling man and he had a gambler’s luck. From the day he was born, his mother had known that Rory would be the one to make something of his life. At seven years old he was earning money from odd jobs and by fourteen, he was in full-time work. By the time he was nineteen, he had escaped the factory to become a rent-collector. Now, at twenty-three, ambition was in full flow and he was always looking to bigger and better games to play. He feared nothing and nobody, not even the unscrupulous landlord he collected for. For an ordinary working lad, he was doing well – until one day, his luck changed and suddenly, things did not go as smoothly as he was used to . . .

Dr John Falconer, recently appointed partner to old Cornwallis, is invited to a garden party at Pine Hurst, seat of the local lord of the manor. It is an occasion arranged to celebrate the twenty-first birthday of Simon Steel’s eldest daughter Beatrice, who introduces him to her three sisters, one of whom, seventeen-year-old Rosie, takes it upon herself to conduct him around the extensive grounds of the house. In a moment of indiscretion, she lets slip her true feelings about Beatrice who, she says, has always been over-possessive about Pine Hurst and, since the death of their mother, has become insufferably dominating. At that time, even though she was then only in her ’teens, Beatrice had taken over the running of the house and now she ruled her father and the servants with an iron hand. What was particularly frustrating for Rosie, who could see no end to the tyranny, was that no man had so far shown any willingness to marry Beatrice and thus deflect her from the object of her passion. As for Beatrice herself, her wanderings about the house and grounds convince her that no one could ever take the place of her most prized possession – although she constantly has to remind herself that it is her father who owns Pine Hurst. But she runs it and glories in being its mistress. Of course, he might decide to remarry – not that she would mind his taking another wife; it is the thought of another woman becoming mistress of the house that fills her with dread. But then, unexpectedly, her father dies, and when the family meet for the reading of the will, she realises her security is threatened and that she must begin to lay plans to protect her position and allow her the freedom to continue as before. The Obsession powerfully portrays a woman so driven by the need to protect her inheritance that she will sacrifice almost anything or anyone to ensure she does not lose it.

Catherine Cookson was one of the world's most beloved writers. Her books have sold millions of copies, and her characters and their stories have captured the imagination of readers around the globe. She passed away in 1998, but luckily for her fans, Cookson left behind several unpublished novels, among them the compelling Silent Lady. The story begins with a shocking revelation, delivered by a disheveled woman who presents herself at the offices of a respectable law firm in London. At first the receptionist suspects this mysterious woman is a vagrant; the clothes that hang on her frail body are filthy, and she seems unable to speak. When the woman requests to see the firm's senior partner, Alexander Armstrong, she is shown the door -- but when Mr. Armstrong learns the name of his visitor, all the office staff is amazed by his reaction. For Irene Baindor is a woman with a past, and her emergence from obscurity signals the unraveling of a mystery that had baffled the...

Annabella LaGrange was the only child of a wealthy family, owners of a glassworks in the North-East of England. When Annabella was seven, she thought the world a delightful place to live in, and only occasionally wondered why her parents never took her beyond the gates of their magnificent country estate. When she was ten she decided that the seclusion didn’t really matter because when she grew up she would marry her handsome cousin Stephen and never be lonely again. But when she is seventeen, Annabella learns something so shocking about her past that she flees her childhood home and is forced to embark upon a new existence with an invented past. Suddenly she must unlearn everything she has been taught about class and love.