Within days he had confessed to fifteen gruesome murders over a period of four years. His victims, all young homosexual men, had never been reported missing. Brian Masters, with Nilsen's full cooperation, has produced a unique study of a serial killer's mind, revealing the disturbing psychology of a mass murderer.

    It once appeared on the Berlin Wall, and symbolizes the subversive nature of 2000AD that changed so many readers’ lives and influenced generations of film directors, actors, rock bands, novelists and even school headmasters.Everything you’ve always wanted to know about Judge Dredd, Slaine, Nemesis, ABC Warriors, Flesh, Bill Savage and more, is in this book. Plus the writers and artists who created them and the real-life people and events they drew on for inspiration. The scandals, the back-stabbing and the shocking story that was regarded as “too sensitive” to ever see the light of day is finally told.Pat relates the dark story of the maths teacher who inspired his version of Judge Dredd, the creators’ angry battles with the censors and each other, why certain writers, stories and even readers have been banished from the comic, a step-by-step account of how Judge Dredd was created, and how to write or draw for 2000AD too.There are new insights on the 2000AD creators' invasion of American comics, their failed French invasion, the Judge Dredd films, the forthcoming Judge Dredd TV series, other possible films featuring 2000AD heroes, the unusual secret of the comic’s current success, the tough challenges it faces today, and its exciting future.From the hilarious origins when Judge Dredd writer-creator John Wagner and Pat began their careers writing together in a garden shed by paraffin lamp, to the tragic stories of legendary comic artists who have passed, and the challenges as 2000AD fought for survival against The Suits determined to destroy it, this is a unique, personal, and passionate account by the man who made 2000AD happen.Funny, sad, angry, defiant, and outrageous: it’s the Comic Book memoir of the year!

    Van Gogh's letters lay bare his deepest feelings, as well as his everyday concerns and his views of the world of art.

    Well – sort of close. He ended up in the minor leagues of professional basketball instead, in the storied and now defunct CBA, a league that has turned out a record-setting number of NBA players and coaches, such as Phil Jackson and George Karl. It wasn’t glamorous, in fact the playing conditions in the CBA were pretty grim; near-empty arenas, interminable bus rides to nowheresville, oddball coaches, little loyalty from management, meager pay, these were a few realities of CBA life. And yet, even as it chipped away at your dignity and made little economic sense to remain, the CBA drew you in with the allure of action and the prospect of an NBA call-up. And it could inspire, like when you and your teammates caught a rhythm that made you remember why basketball is such a beautiful game, or when you saw guys continue to strive, to persevere, even if their dreams weren't fully realized.Carson writes honestly, hilariously and often touchingly of his running and gunning days as a CBA also-ran, with flash backs to his college days where the future seemed brighter than a new pair of Nikes. A top recruit with superior ballhanding and shooting skills along with a sixth basketball sense, in 1997 Carson was a Sporting News All-American freshman who broke Gary Payton's freshman scoring record and a few years later helped his team at Purdue get within a game of the Final Four.

    Memories of his own life and of his friends, colleagues and enemies - from Roald Dahl and philosopher A.J. Ayer to Margaret Thatcher.

    Here are Buster, the kitten who arrived on Christmas; Alfred, the cat at the sweet shop; little Emily, who lived with the gentleman tramp; and Olly and Ginny, the kittens who charmed readers when they first appeared at the Herriots' house in the worldwide bestseller Every Living Thing. And along with these come others, each story as memorable and heartwarming as the last, each told with that magical blend of gentle wit and human compassion that marks every word from James Herriot's pen.

    After his father, a paperhanger and upholsterer, died of cholera, five-year-old Gorky was taken to live with his grandfather, a polecat-faced tyrant who would regularly beat him unconscious, and with his grandmother, a tender mountain of a woman and a wonderful storyteller, who would kneel beside their bed (with Gorky inside it pretending to be asleep) and give God her views on the day's happenings, down to the last fascinating details. She was, in fact, Gorky's closest friend and the epic heroine of a book swarming with characters and with the sensations of a curious and often frightened little boy. My Childhood, the first volume of Gorky's autobiographical trilogy, was in part an act of exorcism. It describes a life begun in the raw, remembered with extraordinary charm and poignancy and without bitterness. Of all Gorky's books this is the one that made him 'the father of Russian literature'.

    Margaret Lane's remarkable piece of literary detective work, originally published only three years after Beatrix's death, told her story for the first time.

    Given the choice, he'll go on vacation to Devon or Wales or, if pushed, eat English food on a package tour of the Mediterranean. So what happened when he was convinced by Gervais and Merchant to go on an epic adventure to see the Seven Wonders of the World? Does travel truly broaden the mind? Find out in Karl Pilkington's hilarious travel diaries.

    Margaret Forster's father was not a man to answer questions - least of all questions about life and death, so she attempts to answer them for herself. As Forster looks back at Arthur's life and indomitable character, she evokes incidents from her childhood, his working life and stubborn old age, trying to make sense of their largely unspoken relationship, and of his tenacious hold on life, and on his family. Arthur and Marion's lives were ordinary, and apparently unremarkable, but, when faced with death, lives like these become strangely precious.

    After becoming British Junior Karting Champion (losing part of a finger in the process), then the Formula 3 title for Eddie Jordan in 1987, he was all set for a glittering debut season in Formula 1 when he was caught in a mass pile-up at Brands Hatch. That horrific crash threatened to end his career, but Herbert made a miraculous recovery, was a hugely popular winner of the British Grand Prix in 1995, and enjoyed 25 years of competitive motorsport, becoming the only British driver to win the 24 hours of Le Mans followed by a Grand Prix. And all that despite driving every pace in extreme pain; in fact, as the first and only disabled driver in F1 history.While chronicling an extraordinary life behind the wheel with cheer and his trademark cheeky humour, What Doesn't Kill You... contains a wealth of stories from the hard end of Formula 1: on Johnny's team-mate Michael Schumacher, legends like Ayrton Senna and Alain Prost, his fellow British adversaries Damon Hill, Martin Brundle and Nigel Mansell, and of course all those gruesome accidents. With an encyclopaedic knowledge and love of the sport, Johnny Herbert's autobiography, much like the man himself, delivers brilliance from the back of the grid.

    Charles Mee, historian and playwright, renders a finely textured portrait of the artist against a richly described background of seventeenth-century life.He captures the human Rembrandt, the ordinary man and unexpected genius. We see the youthful, arrogant poseur, son of a small-town miller, seeking a life of art amid the cosmopolitan bustle of Amsterdam in its heyday. We see the outsider struggling to rise without patron or court commissions, failing as an entrepreneur while immortalizing simple people in works of haunting complexity.We see the inspired moments behind masterworks like TheAnatomy Lesson and Nightwatch and all the conflicting guises of their creator - bohemian and aspiring bourgeois, husband and lover, honored genius, penurious vagabond, and, finally, the essential dichotomy - the egocentric master who, despite his intense self-absorption, captured the diversity of humanity with extraordinary empathy, sensitivity, and grace.Charles Mee’s Rembrandt’s Portrait is a major, enduring work.

    Stephen Moss sets out to master its mysteries, and unlock the secret of its enduring appeal. What, he asks, is the essence of chess? And what will it reveal about his own character along the way?In a witty, accessible style that will delight newcomers and irritate purists, Moss imagines the world as a board and marches across it, offering a mordant report on the world of chess in 64 chapters--64 of course being the number of squares on the chessboard. He alternates between "black" chapters--where he plays, largely uncomprehendingly, in tournaments--and "white" chapters, where he seeks advice from the current crop of grandmasters and delves into the lives of great players of the past.It is both a history of the game and a kind of "Zen and the Art of Chess"; a practical guide and a self-help book: Moss's quest to understand chess and become a better player is really an attempt to escape a lifetime of dilettantism. He wants to become an expert at one thing. What will be the consequences when he realizes he is doomed to fail?Moss travels to Russia and the US--hotbeds of chess throughout the 20th century; meets people who knew Bobby Fischer when he was growing up and tries to unravel the enigma of that tortured genius who died in 2008 at the inevitable age of 64; meets Garry Kasparov and Magnus Carlsen, world champions past and present; and keeps bumping into Armenian superstar Levon Aronian in the gents at tournaments.He becomes champion of Surrey, wins tournaments in Chester and Bury St Edmunds, and holds his own at the famous event in the Dutch seaside resort of Wijk aan Zee (until a last-round meltdown), but too often he is beaten by precocious 10-year-olds and finds it hard to resist the urge to punch them. He looks for spiritual fulfilment in the game, but mostly finds mental torture.

    With a child’s uncluttered eye, she describes the small details—shopping in the market, men waiting for work at the dock gates, the rituals of washday, and the sights, sounds, and smells of the old East End of London. She also describes the fear—of illness, of unemployment, of the workhouse—that hung over her family and thousands like them, and her determination that her own children would never know the kind of poverty she had experienced.

    G. Wells was an international phenomenon, the only writer of his time who could command an audience with both Roosevelt and Stalin. His circle of friends included George Bernard Shaw, Rudyard Kipling, G. K. Chesterton, Somerset Maugham and, of course, the young Rebecca West, with whom he had a long-term affair — perhaps the most tempestuous and sparkling literary liaison of the century. Equally illustrious was his circle of enemies, including the indomitable Hilaire Belloc, who destroyed Wells in a vicious and public argument. Unlike any previous biographer, Michael Coren shows that while many have considered Wells to be on the side of the angels, he was in fact invariably on the wrong side in the major political and literary debates of the age. Drawing on eye-opening new material, The Invisible Man delves deep into the paradoxes that characterized Wells — the utopian visionary and staunch advocate of women’s suffrage who was also a misogynistic womanizer; the epitome of liberal tolerance who was also a social engineer and thoroughgoing anti-Semite. Wells has hitherto remained untouched by charges of anti-Semitism, but Coren reveals for the first time his disturbing views on ‘the Jewish problem’ (for instance, he called Jews ‘termites in the civilized world’), views he defended vehemently even through the 1930s. The avuncular author of Kipps and The Time Machine is depicted, shockingly, as one who advocated concentration camps, racial eugenics and the incarceration or execution of those who did not ‘fit in’. The Invisible Man is one of those iconoclastic biographies that change our perception of their subjects for ever. Praise for Michael Coren: ‘An elegantly written biography’ The Times Michael Coren is a journalist and author, who wrote the highly acclaimed Gilbert: The Man Who Was G. K. Chesterton and a biography of Sir Arthur Conan Doyle.