Suspended for a few seconds, they float in their own space and time with their own hidden prospects. For want of a better term, we call these moments “magical” and when we remember them they are cloaked in a halo of special meaning.’For 14-year-old Johnny Clegg, hearing Zulu street music as plucked on the strings of a guitar by Charlie Mzila one evening outside a corner café in Bellevue, Johannesburg, was one such ‘magical’ moment. The success story of Juluka and later Savuka, and the cross-cultural celebration of music, language, story, dance and song that stirred the hearts of millions across the world, is well documented. Their music was the soundtrack to many South Africans’ lives during the turbulent 70s and 80s as the country moved from legislated oppression to democratic freedom. It crossed borders, boundaries and generations, resonating around the world and back again. Less known is the story of how it all began and developed. Scatterling of Africa is that origin story, as Johnny Clegg wrote it and wanted it told. It is the story of how the son of an unconventional mother, grandson of Jewish immigrants, came to realise that identity can be a choice, and home is a place you leave and return to as surely as the seasons change.

    As recently as the 17th century, a farm-hand encountered them upon a Welsh hillside and was almost 'danced to death', and a century later, babies were still being stolen and replaced with 'changelings'. Even the finest brains are not immune to metahominid influence. When Sherlock Holmes' brilliant creator, Sir Arthur Conan Doyle fell victim, they made him believe that photographs of cut-out paper figures were images of real fairies. In short, the metahominids - traditionally called fairies - used Conan Doyle's fame and reputation to prove they do not exist.Within their traditional haunts of hill fort, woodland and barrow, these creatures are dangerous enough; but now, like urban foxes, they are abandoning the countryside to infest our city spaces. They prey upon us within our own territory - and modern life offers us no protection. Our unwillingness to believe in these 'other men' leaves us wide open to attack. They ramp up the trance music in our clubs, leaving us unable to resist dancing to certain tracks, and woe betide the young mother who suddenly realises her baby isn’t hers… no one will believe her. Thus they move amongst us, still destroying lives as they always have done, yet now, suddenly, in greater numbers than ever before…As this centuries old, covert war heats up, it falls to a shambling figure known only as 'D', and his pitifully underfunded department, to keep us safe - and ignorant of the nightmares that lurk, hidden in the every day world that we call 'reality'. A contemporary British fantasy, The Last Changeling reveals the hidden story behind present day real people, historical figures, and true events.

    Brimming with the joy of process and a love of art history, Brian Rutenberg reveals the places, people, and experiences that led to the paint­ings for which he is well known today. This book is packed with ideas, observations, techniques, and career advice all thought­fully arranged into six sections designed to inspire artists of all levels, as well as anyone interested in creativity.Clear Seeing Place is a companion to the artist's popular YouTube series, "Brian Rutenberg Studio Visits," and is a love letter to painting written by a painter.

    He weaves discussions of work by Keats, Dickinson, and Whitman with quotes from three-thousand-year-old Egyptian poems, Inuit songs, and Japanese love poems to show that writing personal lyric has helped poets throughout history to process emotional and experiential turmoil, from individual stress to collective grief. More specifically, he considers how the acts of writing, reading, and listening to lyric bring ordering powers to the chaos that surrounds us. Moving into more contemporary work, Orr looks at the poetry of Sylvia Plath, Stanley Kunitz, and Theodore Roethke, poets who relied on their own work to get through painful psychological experiences.As a poet who has experienced considerable trauma--especially as a child--Orr refers to the damaging experiences of his past and to the role poetry played in his ability to recover and survive. His personal narrative makes all the more poignant and vivid Orr's claims for lyric poetry's power as a tool for healing. Poetry as Survival is a memorable and inspiring introduction to lyric poetry's capacity to help us find safety and comfort in a threatening world.

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    Along the way, readers will enjoy pithy biographical sketches of existentialists Albert Camus and Jean-Paul Sartre, French satirist Voltaire and Edwardian satirist Oscar Wilde, dramatists from William Shakespeare to Samuel Beckett and Harold Pinter, poets from Dante to William Wordsworth and T.S. Eliot, and novelists who include Charles Dickens, Jane Austen, James Joyce, Virginia Woolf, Fyodor Dostoevsky, Toni Morrison, John Updike, and hundreds more. Each biographical entry includes an assessment of the writer's literary innovations and cultural impact, supplemented with a list of the author's major works, fascinating quotes, and intriguing asides. This book covers a broad range of literary artists who have shaped the course of fiction, poetry, drama, and philosophical thought across a span of more than 2,500 years. Both a handy quick-reference source and an inspiration for readers to delve into the world of the literary arts, "501 Great Writers " is certain to be opened and referred to time and time again. Filled with photos and illustrations.

    She could feel evil lurking around her, but she couldn’t do anything about it. Too bad she wasn’t cut out to be a hunter like her father. If only she was stronger, she could’ve avenged her mother. She is willing to do everything…even seducing an incubus, if it’s the only way to satisfy her thirst for revenge. With a demon hunter’s blood running through her veins, Rainelle could only hope.

     New York is Brie’s life. But when her mother suddenly dies, the 18-year-old doesn’t have a choice. She moves in with her family at a ranch in Texas to start over. Turns out that the ranch owner is one of the most gorgeous men she’s ever laid eyes on. But she has to forget about him. She’s too young and inexperienced for him, not to mention his son’s nanny. Little does she know that her aunt’s got it all planned out. Ranch owner Lance is every woman’s dream with his tousled hair and blue eyes. But underneath the muscles and sun-kissed skin, this wounded cowboy hides his scars. He’s focused on his work and his little son. He has no time for love. But everything changes when he sees Brie that first day, all curves, beauty and warmth. Is this wrong? Is this right? Despite their age difference and working relationship, Lance and Brie can’t deny the attraction. Will Brie be able to move past her loss and start her first relationship? Can Lance let his walls down and give into his feelings? Can they be a family and enjoy a simple life of love and joy together? The Rancher’s Virgin is a 58-page stand-alone story in a series of cowboy romance books, featuring cowboys and virgins. Other parts of the series (more coming soon!): The Cowboy’s Virgin The books each have an HEA and include stargazing, hot cowboys and steamy love scenes. Definitely intended for 18+ readers.

    Now, with paranormal events escalating against her whole family, Joni must get rid of the entity before it destroys them.

    In a remarkable instance of literary and philosophical interpretation, the incomparable Gilles Deleuze reads Proust's work as a narrative of an apprenticeship-more precisely, the apprenticeship of a man of letters. Considering the search as one directed by an experience of signs, in which the protagonist learns to interpret and decode the kinds and types of symbols that surround him, Deleuze conducts us on a corollary search-one that leads to a new and deeper understanding of the signs that constitute A la recherche du temps perdu..Deleuze traces the network of signs laid by Proust (those of love, art, or worldliness) and moves toward an aesthetics that culminates in a meditation on the literary work as a sign-producing "machine"-an operation that reveals the superiority of "signs of art" in a world of signs.In Richard Howard's graceful translation, augmented with an essay that Deleuze added to a later French edition, Proust and Signs appears here for the first time in its entirety in English. Admired in its original appearance as an imaginative and innovative study of Proust and as one of Deleuze's more accessible works, Proust and Signs stands as the writer's most sustained attempt to understand and explain the work of art. For what it reveals about both Deleuze and his subject, it remains a source of literary and philosophical insight, inspiration, and surpassing interest.Gilles Deleuze (1925-1995) was professor of philosophy at the University of Paris, Vincennes-St. Denis. With Félix Guattari, he coauthored Anti-Oedipus (1983) and A Thousand Plateaus (1987). Among his other works are Cinema 1 (1986), Cinema 2 (1989), Foucault (1988), The Fold (1992), and Essays Critical and Clinical (1997), all published by the University of Minnesota Press. Richard Howard recently translated The Charterhouse of Parma by Stendhal for the Modern Library and has also translated works by Barthes, Foucault, and Todorov. He teaches in the School of the Arts at Columbia University.

    The images were taken when Banksy joined Bristol's radical football team The Easton Cowboys on a tour of Mexico to play football against the Zapatista freedom fighters. The new edition also contains sections on the Banksy vs Bristol Museum show, Exit Through The Gift Shop, The Tesco Value Petrol Bomb, an interview with John Nation and more. The book is a celebration of Banksy's street art in his home city of Bristol and places him in the context of 3D, John Nation from the Barton Hill Youth Club, Inkie, Nick Walker and the other artists and musicians who were instrumental in linking Bristol to the original New York hip-hop scene. It is the most revealing account of Banksy's formative years and contains more than one hundred images of his Bristol art, as well as pictures of Banksy at work, many of which have never been published before. Steve Wright, traces Banksy's roots back to the rave culture of the Nineties and draws a rounded picture of an artist who is most famous for being anonymous.

    The original edition cost seventy-five cents, but there was something priceless about its eponymous piece. Although it gave a voice to the new generation that came of age in the conservative years following World War II, the poem also conferred a strange, subversive power that continues to exert its influence to this day. Ginsberg went on to become one of the most eminent and celebrated writers of the second half of the twentieth century, and "Howl" became the critical axis of the worldwide literary, cultural, and political movement that would be known as the Beat generation.The year 2006 marks the fiftieth anniversary of the publication of "Howl," and The Poem That Changed America will celebrate and shed new light on this profound cultural work. With new essays by many of today's most distinguished writers, including Frank Bidart, Andrei Codrescu, Vivian Gornick, Phillip Lopate, Daphne Merkin, Rick Moody, Robert Pinsky, and Luc Sante, The Poem That Changed America reveals the pioneering influence of "Howl" down through the decades and its powerful resonance today.

    The aim of the series is to give readers accessible and informative introductions to some of the most popular, most acclaimed and most influential novels of recent years - from ‘The Remains of the Day' to ‘White Teeth'. A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a thorough and readable analysis of each of the novels in question.

    . .When Mama announced to our family that she had dementia, my brother and sisters insisted they couldn't help. They had their own lives elsewhere, after all. So, I gave up my dreams and spent the next nine years caring for Mama alone, losing her bit by bit, and nearly losing myself in the process.I, Gracie, started over . . .After Mama finally let go of this world, I let go of that world, too. I left the nightmare of my life with Mama, my family, and West Texas to start over in a new place, far away. It took some doing, but I have a new job, a safe place to live, and even new friends and a man who loves me, broken as I am. But . . .I, Gracie, am scarred . . .Until my past is buried like Mama, I keep my man waiting--struggling with what was and not trusting what is or could be.I, Gracie . . .Am on hold . . .still trying to let go.Praise for New York Times and USA Today-bestselling author Sharon Sala "Sharon Sala is a consummate storyteller." --Debbie Macomber, #1 New York Times bestselling author"Sala hooks you from the first page." --Fresh Fiction

    Escape into the evocative medieval world of Sir Baldwin de Furnshill and his friend Bailiff Simon Puttock, as you join them on the suspenseful trail of three murder mysteries.THE MAD MONK OF GIDLEIGH: As the winter of 1323 descends on Dartmoor, who could blame the young priest, Father Mark, for seeking affection from the miller's daughter, Mary? But when Mary and her unborn child are found dead, Mark is the obvious suspect. Called to investigate, Sir Baldwin de Furnshill and his friend Bailiff Simon Puttock soon begin to have their doubts. And by the time their search is over, life will never be quite the same again.THE TEMPLAR'S PENANCE: It is the summer of 1323, and Sir Baldwin de Furnshill and Bailiff Simon Puttock have been granted leave to go on pilgrimage. When a beautiful girl is found murdered on a hillside en route to Santiago de Compostela, the friends are among the first on the scene. As Baldwin and Simon lend their skills to the inquiry, the unexpected appearance of a face from Baldwin's past could threaten the investigation, as well as the future of Baldwin himself...THE OUTLAWS OF ENNOR: On return from pilgrimage, Sir Baldwin de Furnshill and Bailiff Simon Puttock's ship is attacked by pirates, and Simon sees Baldwin washed overboard. On the island of Ennor, Simon must investigate the murder of the island's hated tax collector while, unbeknownst to his friend, Baldwin begins to unpick the same murder on the other side of the island. Can the pair uncover the truth in time to prevent certain massacre?