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The rain adding its dreary greyness to the monotonous swishing of the windscreen wipers, joined neon lights bouncing off the surface of the road on this wet November night in a conspiracy highlighting not only the dark loneliness of the fields flashing past but also that other inner longing that went on searching for something different and more stimulating than doing the same things day after day. And so it was, that at a singular moment when he changed, gear and left the roundabout behind that fate and coincidence, intervening as they so often c did to change everything forever, stepped in to bring the car to a stop alongside the solitary, rain-swept figure waiting for a bus.

Schoolboy is Martin Keaveney's fifth book. It follows the novels Delia Meade (2020) and The Mackon Country (2021), a novella, Caravan (2022) and a short story collection, The Rainy Day (2018), all published by Penniless Press. Stage and screen credits include Ireland's national broadcaster RTE and Scripts Ireland Playwriting Festival. He has a PhD in Creative Writing and Textual Studies. Scholarship has been published widely, including at the New Hibernia Review, Canadian Journal of Irish Studies and Estudios Irlandeses. He was awarded the Sparanacht Ui Eithir for his research in 2016. He works with hundreds of creative writers and literary enthusiasts annually (see more at www.martinkeaveney.com).

A farmer ends up in a wheelchair after a car crash that results in his wife's death. His son's relationship to him is complicated by a woman who comes into his life and lives with him for a time. He has conflicted feelings towards her and towards his sister, a nun who works in a hospital in Nebraska.These are exacerbated when he goes to London to work, discovering new sides to himself in the city's freewheeling ambience.This is a novel about generational guilt and the manner in which tribal loyalties change as traumatic events unfold both at home and abroad.

This new collection from Mark Ward selects work from his two previous collections Thunder Alley and The Visitor's Book, adding a substantial selection of new poems. Predominantly set in his hometown of Blackburn, it chronicles and collates the overlooked, the ordinary and the remarkable into a rich, compelling sequence of narrative poems.

It's difficult to get away from Paris when writing about art, and several reviews in this collection inevitably refer to the city, though not only for art but also for the cafés, cabarets and other locations where artists and writers met to socialise. Paris wasn't the only place where such activity happened, so London, Berlin, New York, and several other cities also come into view. As a background to what went on artistically in Paris there is a review of a book dealing with the "vice, crime and poverty" which shows that it was all there while the painters and poets and their patrons carried on their conversation. This isn't to single out Paris for its perversities, and the review of writing from nineteenth century Prague shows that prostitution and its perils thrived there. As before, I've taken the liberty of including a handful of short prose pieces. They're not stories, in the strict sense of the word, and perhaps "sketches" best describes them?

Brian Kilcoyne finds it difficult to cope with the death of his mother. His father is an alcoholic and he doesn't get on with his brother. He leaves his farm in Loughrea to go to college in Dublin, splitting up with his childhood sweetheart as he does so. They leave their relationship open with the possibility of continuing it in the future. He travels to Europe and America while trying to decide on his future. Romance and diaspora create conflicts in him before he returns to a changed Ireland What's he going to do with his future? Can he re-kindle his relationship with his girlfriend? Is his father going to re-marry? Will small-town mentalities force him to leave Galway again?

In an editorial to issue 9 the magazine's place and purpose was defined: "Voices" we believe has a function to play among the literary journals. It is not a vehicle for established writers. It is a means of dialogue between writer, of working class origin and/or of socialist tendency and the workers and socialists to whom they address themselves.