In Conall Weaver, the mundane world and the wonders of the imagination collide and shoot out sparks. Inspired by the life of pulp writer Robert E. Howard, Maze of Blood explores the roots of story and the compulsions and conflicts of the heart in a Southern landscape.

Following his acclaimed translations of Sir Gawain and the Green Knight and Pearl, Simon Armitage shines light on another jewel of Middle English verse. In his highly engaging version, Armitage communicates the energy and humour of the tale with all the cut and thrust of the original. An unnamed narrator overhears a fierce verbal contest between the two eponymous birds, which moves entertainingly from the eloquent and philosophical to the ribald and ridiculous. The disputed issues still resonate - concerning identity, cultural habits, class distinctions and the right to be heard. Excerpts were featured in the BBC Radio 4 podcast, The Poet Laureate Has Gone to His Shed. Including the lively illustrations of Clive Hicks-Jenkins, this is a book for the whole household to read and enjoy.

The latest book based on the popular Print & Pattern website, Print & Pattern: Geometric celebrates beautiful surface designs, patterns, and motifs made from geometric shapes such as circles, triangles, hexagons, etc. The patterns included reflect current trends for tribal, Aztec, and Native American designs, along with Scandinavian influences and more mathematical and scientific looks. Product areas covered include stationery, cards and giftwrap, fabrics, wallpaper, rugs, ceramics, homewares, gadget skins, and more. Documenting the work of the best designers in the field, the book is an invaluable source of reference and inspiration for surface designers, designer-makers and craftspeople, graphic designers, illustrators, and textile designers.

A blank-verse epic poem set in a post-apocalyptic world that tells of the rebirth of the human race through the girl Thalia.

'Marvellous and menacing.' Daily Mail 'The shadow from which I thought I had unshackled myself has returned. Whether this Horror is real or merely the handiwork of my imagination I cannot say. Nor can I say which of these possibilities disturbs me more.' from 'The Dark Thread' by Graeme Macrae Burne From the legends of King Arthur embedded in the rocky splendour of Tintagel to the folklore and mysticism of Stonehenge, English Heritage sites are often closely linked to native English myths. Following on from the bestselling ghost story anthology Eight Ghosts, this is a new collection of stories inspired by the legends and tales that swirl through the history of eight ancient historical sites. Including an essay by James Kidd on the importance of myth to our landscape and our fiction, and an English Heritage survey of sites and associated legends, These Our Monsters is an evocative collection that brings new voices and fresh creative alchemy to our storytelling heritage. 'Nobody believes you when you talk about the whispering. Oh, Monny, you are funny, they say, you've such an imagination. There's a lot they don't believe.' from 'The Hand Under the Stone' by Sarah Hall 'This varied collection scratches the soil of the country to dig up some of the fairy tales and fantasies that have helped form the English identity.' Financial Times The atmospheric locations: Edward Carey - Bury St Edmunds Abbey Sarah Hall - Castlerigg and other stone circles Paul Kingsnorth - Stonehenge Alison MacLeod - Down House Graeme Macrae Burnet - Whitby Abbey Sarah Moss - Berwick Castle Fiona Mozley - Carlisle Castle Adam Thorpe - Tintagel Castle With original black-and-white illustrations by Clive Hicks-Jenkins.

A groundbreaking history of worldwide English in all its dialects, differences, and linguistic delights: “Informative . . . distinctive . . . a spirited celebration.” —The Guardian In this “well-informed and appealing” work (Publishers Weekly), David Crystal puts aside the usual focus on “standard” English, and instead provides a startlingly original view of where the richness, creativity, and diversity of the language truly lies—in the accents and dialects of nonstandard English users all over the world. Whatever their regional, social, or ethnic background, each group has a story worth telling, whether it is in Scotland or Somerset, South Africa or Singapore. He reminds us that for several hundred wonderful years, there was no such thing as “incorrect” English—and traces the evolution of the language from a few thousand Anglo-Saxons to the 1.5 billion people who speak it today. Moving from Beowulf to Chaucer to Shakespeare to Dickens and the present day, Crystal puts regional speech and writing at center stage, giving a sense of the social realities behind the development of English. This significant shift in perspective enables us to understand for the first time the importance of everyday, previously marginalized, voices in our language—and provides an argument too for the way English should be taught in the future. “A work of impeccable scholarship [that] could easily serve as a standard textbook for students of linguistics, but Mr. Crystal, reaching out to a more general audience, recognizes that even the most avid reader might flinch at the sections on Old Norse grammatical influence. Cleverly, he has sprinkled the book with little digressions, set apart in boxes, that address historical mysteries, strange loanwords, interesting etymologies and the like.” —The New York Times “Learned and often provocative . . . demonstrates repeatedly that common conceptions about language are often historically inaccurate—split infinitives bothered no one until recently (likewise sentence-ending prepositions).” —Kirkus Reviews (starred review) “Simply the best introductory history of the English language family that we have. The plan of the book is ingenious, the writing lively, the exposition clear, and the scholarly standard uncompromisingly high.” —J.M. Coetzee, winner of the Nobel Prize in Literature

This is the new compact hardcover edition of Mark Hearld's Work Book, the first collection of the artist's beguiling art. The artist Mark Hearld finds his inspiration in the flora and fauna of the British countryside: a blue-eyed jay perched on an oak branch; two hares enjoying the spoils of an allotment; a mute swan standing at the frozen water's edge; and a sleek red fox prowling the fields. Hearld admires such twentieth-century artists as Edward Bawden, John Piper, Eric Ravilious and Enid Marx, and, like them, he chooses to work in a range of media - paint, print, collage, textiles and ceramics. The works are grouped into nature-related themes introduced by Hearld, who narrates the story behind some of his creations and discusses his influences. He explains his particular love of collage, which he favours for its graphic quality and potential for strong composition. Art historian Simon Martin contributes an essay on Hearld's place in the English popular-art tradition, and also meets Hearld in his museum-like home to explore the artist's passion for collecting objects, his working methods and his startling ability to view the wonders of the natural world as if through a child's eyes.

This book is the first to survey Clive Hicks-Jenkins' work as a whole, and was published in celebration of the artist's 60th birthday. Its wide-ranging texts, written by poets, novelists and art historians based in Britain and the USA, address the themes inherent in Hicks-Jenkins' different bodies of work. The book will be welcomed by the artist's growing following of supporters and collectors and by all those with an interest in contemporary narrative painting.