The crew of the "Syarduyar Arhilka" travel south, past contrary currents, giant waterspouts and barren, poisonous lands. Finally reaching an island of plenty, they encounter huge and aggressive serpents, one of which kills a member of the crew. Many more are discovered elsewhere on the island. A storm drives the ship further south to an island with enigmatic objects and inhabitants who have lived in isolation for over a thousand years, pursuing the "Way of Ttavmasi" (a version of Buddhism). The crew remain there for a while to learn and recuperate, while Rakvir Stagarnik and his grandson, Kaarvi, ponder the events of the journey (including an encounter with a huge sea-monster) and what it suggests about the nature of their world. The second volume in the epic "By Water" is set in a distant planet, not too dissimilar from our own, written by Richard Hernaman Allen, a former Commissioner of Customs & Excise, as a follow-up to "Through Fire".

The crew of the "Syarduyar Arhilka" depart from the island of the Turven, leaving one member behind. After a long journey across desolate seas, they come upon a ruined city which appears to have been where giant serpents ruled over men, as slaves. Travelling north after many weeks, they eventually reach Saldankandul, in Kardakan. Fadshi-qar Wafar wishes to raise an army to attack the giant serpents - or "Qosidar" - on their island to prevent an attack by them. Unconvinced, Rakvir Stagarnik departs. Wafar convinces Saldjaran Manzir and Zgar Zavzar to conduct a campaign, but imperils his marriage to Rakvir's daughter Ashmara, who finds her father after a lonely journey through the Palqahcat mountains. While a great expedition journeys south for the "island of the Qosidar", Rakvir sets off east across the ocean on his own to prove his theory that the world is round. The third volume in the epic "By Water" is set in a distant planet, not too dissimilar from our own, written by Richard Hernaman Allen.

Climate change, and the inevitability of sea level rise, will require much more of us than simply pulling back from the coastline. The thesis of Weston Wright's More Water Less Land New Architecture is that we need to start thinking in an entirely different way about the relationship of cities to waterfront sites and of the relationship of buildings to water, which means rethinking many of architecture's implicit premises. If architecture has been confrontational with water—think bold towers erected beside the sea, as if to dare the water to challenge them—Wright's argument is that we will need to be modest, accommodating, and accepting of the power and presence of water if our cities are to survive. He knows that nature is stronger than we are, and that best chance mankind has to build successfully will be to build with, not against, the reality of water. This is an important book, not least because its quiet, sober tone balances natural history with architectural history, and reaches across the world to show examples of architecture that accommodates to the water ranging from small vernacular houses on stilts to huge megastructures anchored like islands in the sea. Although Wright's argument transcends aesthetics or style, his book is, in the end, a case for the strength that comes from restraint, and perhaps even for the lasting power of gentlenes

Uncharted Waters: The New Economics of Water Scarcity

"Navigator" is a KS2 reading scheme which covers fiction and non-fiction. It provides material to give pupils a 20-minute guided reading sesson per week during each school year.

Arts Programming for the Anthropocene argues for a role for the arts as an engaged, professional practice in contemporary culture, charting the evolution of arts over the previous half century from a primarily solitary practice involved with its own internal dialogue to one actively seeking a larger discourse. The chapters investigate the origin and evolution of five academic field programs on three continents, mapping developments in field pedagogy in the arts over the past twenty years. Drawing upon the collective experience of artists and academicians in the United States, Australia, and Greece operating in a wide range of social and environmental contexts, it makes the case for the necessity of an update to ensure the real world relevance and applicability of tertiary arts education. Based on thirty years of experimentation in arts pedagogy, including the creation of the Land Arts of the American West (LAAW) program and Art and Ecology discipline at the University of New Mexico, this book is written for arts practitioners, aspiring artists, art educators, and those interested in how the arts can contribute to strengthening cultural resiliency in the face of rapid environmental change.