Both personally and globally, change drives our lives. Despite the new opportunities change can bring, many of us resist and fear it, even as we long for a healthier lifestyle or agree we need a more sustainable culture. Change: Realizing Your Greatest Potential turns this unavoidable condition of life from something fearsome to something empowering by revealing a new perspective on reality. The way we were taught to think of the world is not the way it really is. We are not a mosaic of separate beings in competition for resources. Instead, each of us is an integral part of a whole that encompasses all creation. We are an intrinsic driver behind the force of change. As such, our creative potential is limitless. That potential comes from what author Ilchi Lee discovered over the course of his inner explorations that each of us has a beautiful mind that desires to benefit all beings. This inherent nature is our true greatness and the true power to solidify the changes we envision in our personal lives and the world. Change is urgently needed; the current course of our civilization is no longer tenable. But major changes are not feasible, Lee says, unless we begin with changing ourselves. He says we can start a big change, no matter how daunting it is, with changing our personal attitudes and energy. Change tells you how.

    It also contains material from the BBC archives and reveals how the show was rejected when it was first offered to the BBC, how David Jason nearly missed out on the starring role and the tragedy of the death of one of its stars during filming.Steve Clark was the only author on set for the filming of Only Fools and Horses, spin-off The Green Green Grass and prequel Rock & Chips and his book gives a fascinating and unique insight into this legendary series. Dragon's Den star Theo Paphitis a long-time fan of the series - has written a foreword to the book, which also includes rare photographs and other exclusive material.

    

    Simply one of the most admired and imitated poets of her generation, Lisa Jarnot's third volume of poetry does what only Jarnot can do. Decidedly lyrical, always reliant on repetition and rhythm, what emergies in this book is a catalog of loves and laments: "Just the eldergrass and him, the fog, unpoliced and safe inside the train, the thoughts of rain, Apollo, and the sun..." As Stan Brackage has said of Jarnot, " H]er words are never severed from the means that engendered them; and the consequent meanings are never detached from the meditative drama of each whole poem."

    Wassily Kandisnsky’s Sounds (Klänge), a volume of poems written and illustrated by the Russian artist and pioneer of abstract painting, was originally published in a limited edition in Munich in 1912.  Although it was highly regarded by such artists as Hugo Ball and Jean Arp and acclaimed by the Zurich Dadaists, it remains one of the least known of Kandinsky’s major writings.  This is the first complete English translation of Kandinsky’s text.  Sounds is one of the earliest, most beautiful examples of a twentieth-century livre d’artiste and a rare instance of a book in which text and illustrations are the work of a single artist.  The poems, alternately narrative and expressive in quality, are witty, simple in structure and vocabulary, and often startling in content.  They repeatedly treat questions of space, color, physical design, and the act of seeing in a world that offers multiple and often contradictory possibilities to the viewer.  The woodcuts range from early Jugendstil-inspired, representational designs to vignettes that are purely abstract in form.  Published in the same year as his Concerning the Spiritual in Art, Sounds sheds a different but equally significant light on Kandinsky’s movement toward abstraction—a movement that was to exercise a profound influence on future directions in art.  In addition to the 38 poems and 56 woodcuts, which are arranged as in the original edition, the volume includes an introduction, the German text of the poems, and the artist’s chronology.

    Published 20 years ago, this sequence of poems charts the progress of a love affair from the passionate honeymoon with the milk bottles turning to cheese on the doorstep, through the stage of quarrels, jealousy, recriminations and boredom, to the point where love is as nice as a cup of tea in bed.

    The first section of this collection pays homage to the poet's roots in a place where the world hands you nothing and promises less, so you are left to invent yourself or disappear. From there these poems both recount and embody repeated acts of defiant self-creation in the face of despair, loss, and shame, and always in the shadow of annihilation.With darkly raucous humor and wrenching pathos, Seuss burrows furiously into liminal places of no dimension—state lines, lakes' edges, the space "between the m and the e in the word amen." From what she calls "this place inbetween" come profane prayers in which "the sound of hope and the sound of suffering" are revealed to be "the same music played on the same instrument."Midway through this book, a man tells the speaker that beauty is that which has not been touched. This collection is a righteous and fierce counterargument: in the world of this imagination, beauty spills from that which has been crushed, torn, and harrowed. "We receive beauty," Seuss writes, "as a nail receives / the hammer blow." This is the poetry that comes only after the white dress has been blown open—the poetry of necessity, where a wild imagination is the only hope.