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THE SACRED CINEMA OF ANDREI TARKOVSKYBy Jeremy RobinsonA major new study of Russian filmmaker Andrei Tarkovsky (1932-1986), director of seven feature films, including Mirror, Andrei Rublev, Solaris and The Sacrifice. This book explores every aspect of Andrei Tarkovsky's output in the most detailed fashion - including scripts, budget, production, shooting, editing, camera, sound, music, acting, themes, symbols, motifs, and spirituality. Tarkovsky's films are analyzed in depth, with scene-by-scene discussions. This is an important addition to film studies, the most painstaking study of Andrei Tarkovsky's work available. Andrei Tarkovsky is one of the most fascinating of filmmakers. He is supremely romantic, an old-fashioned, traditional artist - at home in the company Leonardo da Vinci, Pieter Brueghel, Aleksandr Pushkin, Fyodor Dostoievsky and Byzantine icon painters. Tarkovsky is a magician, no question, but argues for demystification (even while films celebrate mystery). His films are full of magical events, dreams, memory sequences, multiple viewpoints, multiple time zones and bizarre occurrences. As genre films, Andrei Tarkovsky's movies are some of the most accomplished in cinema. As science fiction films, Stalker and Solaris have no superiors, and very few peers. Only the greatest sci-fi films can match them: Metropolis, King Kong, Close Encounters of the Third Kind and 2001: A Space Odyssey. Tarkovsky happily and methodically rewrote the rules of the sci-fi genre: Stalker and Solaris are definitely not routine genre outings. They don't have the monsters, the aliens, the visual effects, the battles, the laser guns, the stunts and action set-pieces of regular science fiction movies. No one could deny that Andrei Rublev is one of the greatest historical films to explore the Middle Ages, up there with The Seventh Seal, El Cid, The Navigator and Pier Paolo Pasolini's 'Life' trilogy. If you judge Andrei Rublev in terms of historical accuracy, epic spectacle, serious themes, or cinematic poetry, it comes out at the top. Finally, in the religious film genre, The Sacrifice and Nostalghia are among the finest in cinema, the equals of the best of Ingmar Bergman, Luis Bunuel, Robert Bresson and Carl-Theodor Dreyer. Contains 150 illustrations, of Andrei Tarkovsky's films, Tarkovsky at work, his contemporaries, and his favourite painters. This edition has 23 new pages of illustrations. Bibliography, filmographies and notes. Illustrated. 696pp. www.crmoon.comREVIEW:Robinson's book on the sacred cinema of Tarkovsky is one of the best on the subject. Professor Prakash Kona, English and Foreign Languages University

NUCLEAR WAR IN THE U.K. An exploration of how the United Kingdom would fare in a nuclear war. There are chapters on: nuclear politics ¿ nukespeak and 'nuclear theology' ¿ atomic bomb tests and 'accidents' ¿ American bases in the U.K. ¿ the superpowers' military programmes and strategies ¿ the cost of nuclear war ¿ British civil defence ¿ the Gulf War, 'infowar' and 'smart' technology ¿ nuclear attack scenarios ¿ and anti-war and peace initiatives. Jeremy Robinson's books include Blade Runner and the Films of Philip K. Dick, Rimbaud, Lawrence Durrell and Hayao Miyazaki. EXTRACT FROM CHAPTER TWO: ¿HELL ON EARTH¿ A NUCLEAR WAR ¿WORST CASE¿ SCENARIO Here¿s how you might die in a nuclear strike. Maximum capability is about one strategic warhead hitting a target every twenty seconds. Let¿s take a one megaton air-burst scenario. At ground zero, all buildings would be destroyed. Winds of 1,000 mph. There may be an ¿echö of the blast wave (the ¿Mach¿ effect), resulting in double the over-pressure. The fireball will rise at feet/ second, expanding to 6,000 feet diameter after ten seconds. The radioactive cloud would be 3 miles high in 30 seconds. All combustible stuff would ignite, some up to 8 miles away. Air heat rises to 10,000,000° C. Heat travels outwards at 186,000 miles per second. Flesh would melt. People would die in the suffocation from the firestorm. At 1.5 miles from ground zero over-pressure is 30 times than normal atmospheric pressure. From two to five miles away, most buildings would be flattened, within 15 or so seconds. Winds of 130 mph. Clothing would ignite. Radiation sickness is inevitable. At three miles away yoüll feel a flash of light (christened the pika-don at Hiroshima); then intense heat which chars to the bone (full-thickness burns); fifteen seconds later the windows would be blown in by the blast wave; and yoüd be thrown about by the wind. First degree burns as far as 20 miles from detonation. The EMP (electromagnetic pulse) will disrupt computers, telephones, radios, radars and power supplies. Most people would be permanently blinded by the brilliant light. There are about 200 radioactive elements in fall-out. Fall-out is second-stage radiation, contaminating water, the food chain, everything. Everywhere would be a ¿Z Zone¿, a fall-out zone. Nice to know, too, that radiation is undetectable by the five senses. You may have a mortal dose and not know it. Yoüll know soon, though. Yoüre in for a party, with radiation comin¿ at ya in four types: alpha, beta, gamma and neutron. Gamma rays can penetrate several inches of concrete. Uranium and plutonium isotopes are nice, affecting bones, the respiratory tract, the liver, kidneys and lymphnodes: radiation lasts up to thousands of years. Ionizing radiation¿ll give you nausea, vomiting, diarrhoea, fever, delirium, exhaustion, haemorrhages, hair loss, ulcers, anaemia and leukemia.

ALISON WILDING Alison Wilding is one of the best sculptors around. She deserves a much wider recognition that she receives at present. Wilding was born in Blackburn, Lancashire, in 1948. She went through the typical British art school education ¿ Ravensbourne College of Art (1967-70) and the Royal College of Art (1970-73). Her one-woman shows have included Kelttle¿s Yard Gallery, Cambridge (1982), the Serpentine Gallery, London (1985), Hirschl & Adler, New York (1989), Bare at Newlyn Art Gallery (1993), and a major show (Immersion and Exposure) at both the Tate Gallery, Liverpool and the Henry Moore Trust studio in Halifax (1991). She has shown new work most years since the early 1980s at her galleries. There¿s something in Alison Wilding¿s sculpture which fascinates art lovers. It¿s difficult to say exactly what this quality of Wilding¿s sculpture is. Something ¿magical¿, perhaps, or ¿mysterious¿, or ¿erotic¿. These are the sorts of terms art critics employ when they are at a loss for words. Artists such as Mark Rothko famously get this treatment (Rothkös canvases are called ¿transcendent¿, ¿sublime¿, ¿spiritual¿). John McEwen writes of Alison Wilding: She is pleased when her work conveys a sense of the magical, and certainly it has a powerful sense of mystery. Mysteriousness does not lend itself to description, analysis or explanation; as she herself put it to me in conversation, her pieces do not demand to be talked about. ¿That suggests that they do not demand to be written about either¿, I said. ¿They don¿t mind¿, she said. Penelope Curtis writes of Wilding: ¿Even the smallest of her often small sculptures has tremendous and commanding presence; there is a sense of levitation in her works.¿ Fully illustrated with many examples of Wilding¿s work, and that of her contemporaries.

ZERO SUMMER: A NOVEL In Britain of the near-future, a nuclear war is imminent. As society falls to pieces, two people meet and fall intensely in love. This is a powerful erotic and poetic novel, written in a heightened, lyrical style which combines romance with action, beauty and death. EXTRACT FROM CHAPTER ONE It was on a Summer's evening that we met. Everything was full of light - the long, sloping light of Mid-West America. But in England. Into this golden light you walked. The seafront was deserted. Soft breezes blew in from the ocean. I had been living for days in the opulence of this water, this rich spice of water, heat, seagulls and wide-open spaces. Water washed our feet as we spoke on the sand. The sun was still hot. You were wearing a cotton Summer dress, white with green spots. I couldn't keep my eyes off you. The day had begun with rain, I remember. Now the sky was turning lilac. In the heat of the day the beaches had been full of tourists and sun-bathers. Now it was teatime and Great Britain shuffled indoors, to eat, to flop down, to watch TV. I was being my usual romantic self, wandering along the shore, enjoying the melancholy emptiness of the sunlit promenade. And you were there.

WESSEX REVISITED: THOMAS HARDY AND JOHN COWPER POWYS Both Thomas Hardy and John Cowper Powys created a poetic Wessex landscape. Hardy's Wessex has entered popular folklore and myth, and is used in the promotion of holidays, walks, tours, museums, hotels, even town councils. John Cowper Powys's Wessex, explored in A Glastonbury Romance, Wolf Solent, Maiden Castle and Weymouth Sands, among other novels, is less well-known: a place of secret corners, mossy walls, ancient earthworks, Somerset wetlands and ferny hollows. Both writers are discussed thematically for their sense of nature, mythology, philosophy, painting, sensualism, labour, folklore and the family. D.H. Lawrence is referenced throughout as a bridge between Hardy and Powys. Finally Jeremy Robinson considers the film versions of Hardy's novels. This is a valuable addition to the criticism of Hardy and Powys. John Cowper Powys is difficult to categorize. We place him (usually) in amongst D.H. Lawrence, Mervyn Peake, Robert Graves, William Blake and Thomas Hardy. At first glance, Powys seems to be working in the British nature poetry tradition of William Wordsworth and Edward Thomas. His immediate predecessors are Hardy and Lawrence. In Hardy;s fiction (and Emily Bronte's), one finds that fierce enmeshment of nature mysticism and character. But Powys's novels wholly lack Hardy's narrative drive and feeling for drama and development. From Hardy, however, Powys learnt how to interrelate landscape and psychology in an authentic manner. Whereas Hardy is concerned with the furtherance of the dramatic story, above all, Powys is more interested in the ecstatic states of beingness. In this Powys has much in common with Lawrence. These writers use the details found in nature as vehicles for their characters' feelings. Lawrence uses these musings to open up his text to wider issues of human emotions or politics. In Powys's work, the movement in meditation is inward, downward and backward - into the worlds of history, mythology, and the claustrophobia of the self.

POSTMODERN POWYS In this study of British novelist John Cowper Powys, Joe Boulter concentrates on the novels Owen Glendower, Porius and Wolf Solent. EXTRACT FROM THE INTRODUCTION In these essays I do not argue that John Cowper Powys is a postmodernist novelist. Nor do I provide an interpretation of Powys using the techniques of postmodernist literary criticism. What I do is use some of the analogies between Powys¿s themes and techniques and the themes and techniques of postmodernist theorists as the basis for interpretations of some of Powys¿s novels. In other words, I do not interpret Powys as a postmodernist, or in a postmodernist way, I interpret him in the context of postmodernist theory. I use this method of interpretation for two reasons. Firstly, as Fredric Jameson notes, postmodernism is the current cultural dominant. If Powys is to be relevant today, he must be relevant in the context of postmodernist theory. Secondly, Powys and many postmodernist theorists have a common perspective. They are all, in a loose sense, pluralists. I explore this analogy in the first essay, ¿What is the Saturnian Quest?¿ This common philosophical perspective leads to a shared interest in other issues, some of which I look at in essays on ¿the other¿, ¿performance¿ and ¿parody¿. I hope that my interpretative approach will clarify how Powys¿s novels work and suggest ways in which they can be relevant today, as well as offering a fresh look at some of the problems with pluralism.

AMOROUS LIFE One of the most fascinating explorations of the work of British novelist John Cowper Powys by H.W. Fawkner, one of the foremost commentators of this neglected, completely extraordinary author. EXTRACT Weymouth Sands is a wonderful novel. In a sense it is the foremost work to come from the pen of John Cowper Powys. There is a sense of aesthetic consummation saving the novel from the sprawling excessivenesses of some of its chief creative rivals. A Glastonbury Romance has the same indomitable energy, and even the same type of internal happiness; but it does not have an equal sense of measure, poise, and economy. At the same time, Weymouth Sands is not a curtailing of Powys¿s genius - in the way that Great Expectations sacrifices Dickens¿s marvellous capacity for nonsensical digression demonstrated as early as Pickwick Papers. The lack of bulk and the loss of enormity do not prevent Weymouth Sands from asserting itself as mass. Weymouth is not less solid than Glastonbury. The advancing and retreating sea-tides are not conceived on a scale that is more limited than the one utilized as canvas for the grand brushstrokes of history in Owen Glendower. In becoming John Cowper¿s most aesthetically perfect work, Weymouth Sands has made no sacrifices whatsoever. Here that which is most aesthetic is by the same token that which is most Powysian, most eccentric. For some strange reason, the eccentricity of Weymouth Sands is compatible with the principles of traditional aesthetic form - something which we can say of few other works from the hand of this artist. John Cowper¿s best fiction and best philosophy is built on the idea - indeed reality - of deliciousness. Deliciousness as such vanishes from the writer¿s horizon as he progressively slips from the height of his powers into old age. In this sliding, Powys drifts away not only from the astonishing precision of his material hold on the richness of his own life-receptivity but also from the idea of the work of art as a quintessentially Powysian construct. In John Cowper Powys¿s best works, the idea of the presence of deliciousness is indistinguishable from the idea of the presence of amorous life. By amorous life I basically mean what the narrator means in Weymouth Sands when describes the ideal-erotic affectivity of women like Gipsy May, Marret, and Peg Frampton as ¿a latent passion to offer up their amorous life as mystics offer up their souls¿. In this assertion, ¿amorous life¿ and ¿soul¿ are understood as being on a par, as somehow being each other¿s possible substitutes. In other words, the ¿soul¿ passes imperceptibly into ¿amorous life¿ for a mystic who no longer lives in the ancient world of dogma but in the world as we know it today. In a sense, in fact, ¿amorous life¿ is a refinement of ¿soul.¿

ROBERT HERRICK: SELECTED POEMS ROBERT HERRICK (1591-1674) was one of the Cavalier poets (other Cavalier poets included Suckling, Carew and Lovelace). He was born in London and lived much of his life in the rough remoteness of a parish in Devonshire. He studied at Cambridge (St John¿s College and Trinity Hall). His law studies were dropped in 1623, and he was ordained as a deacon and priest in 1624. Herrick¿s major work, Hesperides or The Works Both Humane and Divine of Robert Herrick Esq., was published in 1648. There are some 1130 poems in the first, secular part, Hesperides, and 272 in Noble Numbers, the religious pieces. Herrick¿s poetry (his Hesperides) followed the plan outlined the poem ¿The Argument of His Book¿, with its lyrical evocation of the natural world. Herrick was particularly well situated, geographically, to write nature poetry. Like Coleridge, Wordsworth and Brontë, Herrick lived in the midst of the countryside, in the relative isolation of Dean Prior, on the edge of Dartmoor in Devon. There are many poems in Robert Herrick¿s work of love - about love desired, lost and mourned. Herrick is very definitely a ¿Muse poet¿, to use Robert Graves¿s term. There are many poems about various mistresses, ¿my dearest Beauties¿ he calls them in ¿To My Lovely Mistresses¿ (Anthea, Perilla, Electra, Blanch, Judith, Silvia, and the most beloved of all, Julia). There are many poems to certain ¿muses¿ or ¿maidens¿. The sheer number (and quality) of Herrick¿s poems to Julia attests to his deep passion for the friendship and strength of women: ¿To Juliä, ¿To Roses in Juliäs Bosom¿, ¿To Julia, Her Dawn, or Daybreak¿, ¿The Parliament of Roses to Juliä, ¿Upon Juliäs Recovery¿, ¿On Juliäs Fall¿, ¿His Sailing From Juliä, ¿Her Legs¿, ¿Her Bed¿, ¿On Juliäs Picture¿, ¿The Bracelet to Juliä, ¿To Julia in the Temple¿ and so on. Apart from poems addressed ¿To His Book¿, there are more poems in Robert Herrick¿s output ¿To Juliä than to anything else. Julia is ¿the prime of Paradise¿ (¿To Julia, in Her Dawn, or Day-breake¿). She is utterly adored, often erotically. There are poems which eulogize her breasts and nipples, for instance: ¿Display thy breasts.../ Between whose glories, there my lips I¿ll lay,/ Ravisht¿, he writes (in ¿Upon Juliäs Breasts¿); other paeans to Juliäs breasts include ¿Upon the Roses in Juliäs Bosom¿, and ¿Upon the Nipples of Juliäs Breast¿. Herrick makes the age-old connections between the fertility of nature outside (the rain, the lush vegetation, the rivers of the Paradisal Earth) and the bounty of women inside (Juliäs breasts form a valley of abundance, as in William Shakespeare¿s ¿Venus and Adonis¿, in which the poet would like to languish). Women in Herrick¿s poetry are seen as the givers of pleasure (expressed as sex), nurturance (breast milk), and all things worthy in the world (love). ¿All Pleasures meet in Woman-kind¿, he writes in ¿On Himself¿. They are just as important in his poetry as God, the King or Christianity.

LAWRENCE DURRELL This book studies the works of Lawrence Durrell (February 27, 1912 - November 7, 1990), the great British writer. It explores all of Durrell¿s major works, including The Alexandria Quartet, The Black Book, the poetry, The Avignon Quintet and the Tunc-Nunquam books, many of lesser-known pieces, and reviews all of the Durrell criticism, and Durrell¿s literary friendships (with Henry Miller, T.S. Eliot, George Seferis, Richard Aldington, etc). The response that Lawrence Durrell so often generates is negative: critics call him pretentious, baroque, overblown, high-flown, too intellectual, too metaphysical, overwritten, too rich, etc. The Avignon Quintet, his last major work, was received as ¿lush¿, with ¿fantastic characters, opulent landscapes¿, ¿flamboyant... rich, easy style¿, prose that was ¿ringingly evocative¿, ¿an elaborate tapestry¿. For some critics, Durrell¿s books are ¿accurate, moving and intensely readable¿ as a critic wrote of Bitter Lemons, while another critic sees Durrell¿s novels as ¿so beautiful in surface and so uncertain below it¿. It was the 1950s novel Justine that really launched Durrell¿s career, for Justine was a large, complex work that promised much for the following instalments in The Alexandria Quartet. Durrell¿s reputation rests largely on the achievement of The Alexandria Quartet, and it is to the Quartet that critics generally refer when they discuss Durrell. And when Durrell¿s name appears in the index of a book of literary criticism, The Alexandria Quartet is usually being considered. Includes illustrations, a full bibliography and notes.

ANDREA DWORKIN Of this study of her work, Andrea Dworkin wrote: It¿s amazing for me to see my work treated with such passion and respect. There is nothing resembling it in the U.S. in relation to my work. Michael Moorcock wrote of American feminist and writer Andrea Dworkin: ¿I think feminism is the most important political movement of our times. People think Andreäs a man-hater. She gets called a Fascist and a Nazi - particularly by the American left, but it¿s not detectable in her work. To me she seemed like a pussycat¿ She has an extraordinary eloquence, a kind of magic that moves people¿. Dworkin is a very positive writer, always driving onwards for revolution, change and radical thinking. In the introduction to Letters From a War Zone, she writes: ¿I am more reckless now than when I started out because I know what everything costs and it doesn¿t matter. I have paid a lot to write what I believe to be true. On one level, I suffer terribly from the disdain that much of my work has met. On another, deeper level, I don¿t give a fuck¿. Dworkin¿s life¿s work balances the individual suffering of the writer with the larger, worldwide suffering of women¿s subordination, so that, she says, one becomes, on a personal level, immune to pain, while on the larger, global level, the pain of women and children around the world continues to grow, and continues to make her madder and madder: ¿I wrote them [essays and speeches] because I believe in writing, in its power to right wrongs, to change how people see and think, to change how and what people know, to change how and why people act. I wrote them out of the conviction, Quaker in origin, that one must speak truth to power. This is the basic premise in my work as a feminist: activism or writing¿. Here Dworkin posits her work as a crusade, that¿s the newspaper term for her kind of polemic, a ¿crusade¿ against silence and violence, against cruelty and inequality, and certainly Dworkin is often portrayed in the media as a crusader, someone who really believes in herself, in her convictions, someone wholly committed, as few others are, to a radical change. Michael Moorcock, in his piece on Andrea Dworkin (New Statesman, 1988) writes: [w]hat she fights against, in everything she writes and does, is male refusal to acknowledge sexual inequality, male hatred of women, male contempt for women, male power¿.

D.H. LAWRENCE: SYMBOLIC LANDSCAPES This book analyzes the rich discourses of mythology, symbolism, form, eroticism and landscape in D.H.Lawrence's fiction. Jane Foster traces Lawrence's symbols (tigers, suns, fish, peacocks) in many of the short stories, as well as the major novels. 'Spirit of place' was always important for Lawrence, and Foster's study investigates how Lawrence's concept of place informed his fiction, poetry and travel books. EXTRACT Lawrence uses many traditional poetic symbols - flowers, fire, the Moon - but there are some symbols that he has made very much his own: blood, rivers, the phallus, rainbow and the Lawrencean bestiary: horse, phoenix, peacock, dragon, snake, lion, tiger, rabbit and fish. The Lawrencean animals are the most alive of living symbols. There are many symbolic beasts in the poems too: fish, tortoises, snakes, eagles, elephants, mosquitoes, goats, etc. ¿¿¿¿¿ D.H. Lawrence probably uses more flowers in his art than any other comparable writer. The poems are full of flowers - irises, violets, roses, campions - all kinds of flowers, hundreds of flowers, blossoms and plants. He fills his books with flowers rather like the Early Netherlandish painters filled their paintings of the Madonna with heaps of flowers. Lawrence uses flower symbolism to underpin the action and the emotional states of his characters. Ursula, for instance, delights, as Connie Chatterley does, in flowers. They remind her of the beauty of the world when the pain of love becomes too much. In Women in Love, Ursula is transported, to use the old term, by some daisies floating in water: She went along the bank towards the sluice. The daisies were scattered broadcast on the pond, tiny radiant things, like an exaltation, points of exaltation here and there. Why did they move so strongly and mystically? ¿Look,¿ he said, ¿your boat of purple paper is escorting them, and they are a convoy of rafts. Some of the daisies came slowly towards her, hesitating, making a shy, bright little cotillion on the dark clear water. Their gay, bright candour moved her so much as they came near, that she was almost in tears. ¿Why are they so lovely?¿ she cried. ¿Why do I think them so lovely?¿ With illustrations, bibliography and notes.

HOMEGROUND: THE KATE BUSH MAGAZINE: ANTHOLOGY TWO: 'THE RED SHOES' TO '50 WORDS FOR SNOW'¿HomeGround is a magazine devoted to Kate Bush (born in 1958), a British pop star best-known for hits such as 'Wuthering Heights', 'Wow', 'Hounds of Love' and 'Running Up That Hill'. This book is pure heaven for music fans. The HomeGround magazine anthology includes material inspired by all periods of Kate Bush's musical progression. It is a book about the reaction to her work and how her unique music has touched the lives of so many people. This is a unique book, a labour of love for hundreds of music fans who have contributed to HomeGround over its thirty-year existence. The book includes an enormous amount of information about Kate Bush, accounts of every release, album, single, pop promo and appearance, as well as memories and accounts of music fandom (such as conventions, meetings, hikes, stage door encounters and video parties). It also includes material on many other pop acts and events. It features poetry, stories, letters, reviews, interviews, memoirs, cartoons, drawings, paintings and photographs. This is the second book of a two volume set, totalling over 1200 pages. The second volume covers Kate Bush's career from 'The Red Shoes' album to '50 Words For Snow' album (from the early 1990s to the present day). The first book runs from the origins of Bush's career to the album 'The Sensual World'. The first issue of HomeGround appeared in 1982, four years after Kate Bush's dramatic debut with 'Wuthering Heights'. Starting with an ancient manual typewriter, and a pot of glue paste, the editors mounted articles on recycled backing sheets and added hand-drawn artwork to fill the gaps. The first issue was photocopied, the pages hand-stapled together and twenty-five copies were given away to fans they knew. Only later did they discover the magic of word processing, and desktop publishing. From those beginnings HomeGround became a cornerstone of the 'Kate-speaking world', the editors going on to organise four official fan events at which Kate Bush and members of her family and band appeared, arrange at Bush's request a team of fans to be extras in two of her videos and organise informal fan gatherings at Glastonbury and Top Withens, the storm-blown ruin on Haworth Moor. Years before the internet, HomeGround became a place where fans could discuss Bush's music, and a place where they could publish creative writing and artwork that music inspired. www.crmoon.com. Buy direct from Crescent Moon (at crmoon.com): we are cheaper than online sellers (including Amazon), and more of your money goes to the people who produced these amazing books. We also have offers on buying both books together. Fully illustrated with hundreds of images, including rare photographs and original artwork. Includes a timeline of Kate Bush's career, index, and a who's who. ISBN 9781861714817. 568pp. Volume One of HomeGround, covering Kate Bush's early career, is also available: ISBN 9781861714794 (Pbk) and 9781861714800 (Hbk). Also available in hardback: ISBN 9781861714824. Katebushnews.com - the website of HomeGround, the international Kate Bush magazine.

HOMEGROUND: THE KATE BUSH MAGAZINE: ANTHOLOGY TWO: 'THE RED SHOES' TO '50 WORDS FOR SNOW'HomeGround is a magazine devoted to Kate Bush (born in 1958), a British pop star best-known for hits such as 'Wuthering Heights', 'Wow', 'Hounds of Love' and 'Running Up That Hill'. This book is pure heaven for music fans. The HomeGround magazine anthology includes material inspired by all periods of Kate Bush's musical progression. It is a book about the reaction to her work and how her unique music has touched the lives of so many people. This is a unique book, a labour of love for hundreds of music fans who have contributed to HomeGround over its thirty-year existence. The book includes an enormous amount of information about Kate Bush, accounts of every release, album, single, pop promo and appearance, as well as memories and accounts of music fandom (such as conventions, meetings, hikes, stage door encounters and video parties). It also includes material on many other pop acts and events. It features poetry, stories, letters, reviews, interviews, memoirs, cartoons, drawings, paintings and photographs. This is the second book of a two volume set, totalling over 1200 pages. The second volume covers Kate Bush's career from 'The Red Shoes' album to '50 Words For Snow' album (from the early 1990s to the present day). The first book runs from the origins of Bush's career to the album 'The Sensual World'. The first issue of HomeGround appeared in 1982, four years after Kate Bush's dramatic debut with 'Wuthering Heights'. Starting with an ancient manual typewriter, and a pot of glue paste, the editors mounted articles on recycled backing sheets and added hand-drawn artwork to fill the gaps. The first issue was photocopied, the pages hand-stapled together and twenty-five copies were given away to fans they knew. Only later did they discover the magic of word processing, and desktop publishing. From those beginnings HomeGround became a cornerstone of the 'Kate-speaking world', the editors going on to organise four official fan events at which Kate Bush and members of her family and band appeared, arrange at Bush's request a team of fans to be extras in two of her videos and organise informal fan gatherings at Glastonbury and Top Withens, the storm-blown ruin on Haworth Moor. Years before the internet, HomeGround became a place where fans could discuss Bush's music, and a place where they could publish creative writing and artwork that music inspired. www.crmoon.com. Buy direct from Crescent Moon (at crmoon.com): we are cheaper than online sellers (including Amazon), and more of your money goes to the people who produced these amazing books. We also have offers on buying both books together. Fully illustrated with hundreds of images, including rare photographs and original artwork. Includes a timeline of Kate Bush's career, index and a who's who. ISBN 97818617144824. 568pp. Volume One of HomeGround, covering Kate Bush's early career, is also available: ISBN 9781861714794 (Pbk) and 9781861714800 (Hbk). Also available in paperback: ISBN 9781861714817. Katebushnews.com - the website of HomeGround, the international Kate Bush magazine.

HOMEGROUND: THE KATE BUSH MAGAZINE: ANTHOLOGY ONE: 'WUTHERING HEIGHTS' TO 'THE SENSUAL WORLD' HomeGround is a magazine devoted to Kate Bush (born in 1958), a British pop star best-known for hits such as 'Wuthering Heights', 'Wow', 'Hounds of Love' and 'Running Up That Hill'. This book is pure heaven for music fans. The HomeGround anthology includes material inspired by all periods of Kate Bush's musical progression. It is a book about the reaction to her work and how her unique music has touched the lives of so many people. This is a unique book, a labour of love for hundreds of music fans who have contributed to HomeGround over its thirty-year existence. The book includes an enormous amount of information about Kate Bush, accounts of every release, album, single, pop promo and appearance, as well as memories and accounts of music fandom (such as conventions, meetings, hikes, stage door encounters and video parties). It also includes material on many other pop acts and events. It features poetry, stories, letters, reviews, interviews, memoirs, cartoons, drawings, paintings and photographs. This is the first book of a two volume set, totalling over 1200 pages. The first book covers Kate Bush's career from 'Wuthering Heights' to 'The Sensual World' (from the late 1970s to the late 1980s). The second book runs from 'The Red Shoes' album to the present day. The first issue of HomeGround appeared in 1982, four years after Kate Bush's dramatic debut with 'Wuthering Heights'. Starting with an ancient manual typewriter, and a pot of glue paste, the editors mounted articles on recycled backing sheets and added hand-drawn artwork to fill the gaps. The first issue was photocopied, the pages hand-stapled together and twenty-five copies were given away to fans they knew. Only later did they discover the magic of word processing, and desktop publishing. From those beginnings HomeGround became a cornerstone of the 'Kate-speaking world', the editors going on to organise four official fan events at which Kate Bush and members of her family and band appeared, arrange at Bush's request a team of fans to be extras in two of her videos and organise informal fan gatherings at Glastonbury and Top Withens, the storm-blown ruin on Haworth Moor. Years before the internet, HomeGround became a place where fans could discuss Bush's music, and a place where they could publish creative writing and artwork that music inspired. Fully illustrated with hundreds of images, including rare photographs and original artwork. Includes a timeline of Kate Bush's career, index and a who's who. ISBN 9781861714800. 648pp. Also available in paperback: ISBN 9781861714794. Volume Two of HomeGround, covering Kate Bush's career from 'The Red Shoes' to the present day, is also available: ISBN 9781861714817 (Pbk) and ISBN 9781861714824 (Hbk). www.crmoon.com (see for offers on buying both books together). Katebushnews.com - the website of HomeGround, the international Kate Bush magazine.

BEAUTIES, BEASTS AND ENCHANTMENT: CLASSIC FRENCH FAIRY TALES A beautiful new collection of 36 French fairy tales translated into English by renowned writer and authority on fairy tales, Jack Zipes. Cinderella, Beauty and the Beast, Sleepy Beauty, Puss In Boots, Bluebeard, and Little Red Riding Hood are some of the classic fairy tales in this amazing book. There are many stories here by Charles Perrault, the most famous author of French conte de fées. Includes a generous number of exquisite illustrations from fairy tale collections. 'Terrific... a succulent array of 17th and 18th century 'salon' fairy tales' - The New York Times Book Review 'These tales are adventurous, thrilling in a way fairy tales are meant to be... The translation from the French is modern, happily free of archaic and hyperbolic language... a fine and sophisticated collection' - New York Tribune 'Enjoyable to read... a unique collection of French regional folklore' - Library Journal 'Charming stories accompanied by attractive pen-and-ink drawings' - Chattanooga Times 'An excellent collection' - Booklist. REVIEW FROM AMAZON: If you love fairy tales and felt some were lacking you will love this book. With two versions of Beauy and the Beast, one covering the true details of the prince's curse and fairy politics, and several classic style french stories, it will quickly become a family favorite. JACK ZIPES is professor emeritus of German and comparative literature at the University of Minnesota. In addition to his scholarly work, he is an active storyteller in public schools and has worked with children's theaters in Europe and the United States. Some of Jack Zipes' major publications include Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales (1979), Fairy Tales and the Art of Subversion (1983, rev. ed. 2006), Don't Bet On the Prince: Contemporary Feminist Fairy Tales in North America and England (1986), The Brothers Grimm: From Enchanted Forests to the Modern World (1988), Sticks and Stones: The Troublesome Success of Children's Literature from Slovenly Peter to Harry Potter (2000), Speaking Out: Storytelling and Creative Drama For Children (2004), Hans Christian Andersen: The Misunderstood Storyteller (2005), and Why Fairy Tales Stick: The Evolution and Relevance of a Genre (2006). Jack Zipes has also translated The Complete Fairy Tales of the Brothers Grimm (1987) and edited The Oxford Companion to Fairy Tales (2000), and The Great Fairy Tale Tradition (2001). Most recently he has translated and edited The Folk and Fairy Tales of Giuseppe Pitre (2008) and Lucky Hans and Other Merz Fairy Tales (2008) by Kurt Schwitters. Includes illustrations and a new introduction. ISBN 9781861714329. 610 pages. www.crmoon.com