This novel is an engaging, witty blend of comic fantasy, Irish mythology, romance and taut modern-day thriller, located mainly in Dublin, Ireland. Following the suicide of her teenage mother, baby Fiona is put into State care. Fiona doesn't know her absent father was the disgraced God of Love. Growing up, she suffers abuse and bullying and begins to see Otherworld creatures such as trolls and faeries, and worries for her sanity. Fiona discovers she has a physical strength beyond what is normal, and can fight the bullies, but is branded as violent and held in an Institution for the criminally insane. She is released on her eighteenth birthday into a hostel in Dublin City, Ireland. Joey, one of the bullies who made her past miserable, is now a Dublin gang member. They meet but agree to forget the past and romance blossoms. But someone is killing his friends, former bullies, now gang members, and Joey fears he is next. Meanwhile, the Celtic Goddess Danu of Otherworld has discovered Fiona's existence and wants her dead. The Drimnagh Witches are tasked to find her and Wizard Drowe is released from Otherworld prison tasked to kill her. Fiona survives his initial attempt to murder her and befriends him before entering a strange, mystical Otherworld beyond her current reality. She has to figure out how to survive in both worlds, on the tough streets of Dublin and in Otherworld.

First published in 2005 Medieval Ireland: An Encyclopedia brings together in one authoritative resource the multiple facets of life in Ireland before and after the Anglo-Norman invasion of 1169, from the sixth to sixteenth century.

This is the first book devoted to churches in Ireland dating from the arrival of Christianity in the fifth century to the early stages of the Romanesque around 1100, including those built to house treasures of the golden age of Irish art, such as the Book of Kells and the Ardagh chalice. � Carrag�in's comprehensive survey of the surviving examples forms the basis for a far-reaching analysis of why these buildings looked as they did, and what they meant in the context of early Irish society. � Carrag�in also identifies a clear political and ideological context for the first Romanesque churches in Ireland and shows that, to a considerable extent, the Irish Romanesque represents the perpetuation of a long-established architectural tradition.