In a tale set in Scotland's Western Highlands during the early stages of World War II, Colonel David McKenna, a retired officer of the Black Watch, is recalled to active service. He receives a posting to Northwest Scotland to establish a system of defense. Along the way he finds love and war.

There are still wild places out there on our crowded planet. Through a series of personal journeys, Dan Richards explores the appeal of far-flung outposts in mountains, tundra, forests, oceans and deserts. Following a route from the Cairngorms of Scotland to the fire-watch lookouts of Washington State; from Iceland’s ‘Houses of Joy’ to the Utah desert; frozen ghost towns in Svalbard to shrines in Japan; Roald Dahl’s writing hut to a lighthouse in the North Atlantic, Richards explores landscapes which have inspired writers, artists and musicians, and asks: why are we drawn to wilderness? What can we do to protect them? And what does the future hold for outposts on the edge?

During the first millennium AD the most northerly part of Britain evolved into the country known today as Scotland. The transition was a long process of social and political change driven by the ambitions of powerful warlords. At first these men were tribal chiefs, Roman generals or rulers of small kingdoms. Later, after the Romans departed, the initiative was seized by dynamic warrior-kings who campaigned far beyond their own borders. Armies of Picts, Scots, Vikings, Britons and Anglo-Saxons fought each other for supremacy. From Lothian to Orkney, from Fife to the Isle of Skye, fierce battles were won and lost. By AD 1000 the political situation had changed for ever. Led by a dynasty of Gaelic-speaking kings the Picts and Scots began to forge a single, unified nation which transcended past enmities. In this book the remarkable story of how ancient North Britain became the medieval kingdom of Scotland is told.

in 1985 Simon Winchester, struck by a sudden need to discover exactly what was left of the British Empire, set out across the globe to visit the far-flung islands that are all that remain of what once made Britain great. He travelled 100,000 miles back and forth from Antarctica to the Caribbean, from Mediterranean to the Far East, to capture a last glint of imperial glory. His adventures in these distant and forgotten ends of the earth make compelling and often funny reading and tell a story most of us had thought was over: a tale of the last outposts in Britain's imperial career and of those who keep the flag flying. With a new introduction and additional material in many of the chapters, this revised edition tells us what happened to these extraordinary places while the author's been away.

Scotland: Global Cinema focuses on the explosion of filmmaking in Scotland in the 1990s and 2000s. It explores the various cinematic fantasies of Scotland created by contemporary filmmakers from all over the world who braved the weather to shoot in Scotla

Leading scholars from the Academic Archers network combine a love of The Archers with their specialist subjects, in Custard, Culverts and Cake - a sometimes serious, but most often wry look at the people of Ambridge. Scholars take on subjects such as food, geography, social media, faith and naturally, the Helen and Rob storyline.

Since its publication in 1908, Anne of Green Gables has been a continuous international best-seller, enjoying successful television adaptations on PBS and The Disney Channel, and captivating children and adults alike with the irresistible charms of its remarkable heroine, Anne Shirley. This wildly imaginative, red-headed chatterbox tries to fit into the narrow confines of Victorian expectations, but her exuberant spirit keeps leaping delightfully beyond the bounds. Indeed, when Maud Montgomery decided to reject the sermonizing formulas of the children's books of her day, she brought to life a character much closer to Jane Eyre, David Copperfield, and Tom Sawyer--also orphans, like Anne--than to the self-sacrificing, conformist heroines then in demand. In doing so, Montgomery subtly questioned the values of her society--the stifling restraints of its religion and most especially its treatment of women--while giving readers all the pleasures of her considerable story-telling gifts. Now, in this first fully annotated edition of Anne of Green Gables, readers will appreciate more clearly than ever before the scope and depth of this extraordinary novel. Editors Margaret Anne Doody, Mary Doody Jones, and Wendy Barry provide a richly illustrated, completely revised text, along with hundreds of notes describing the real-life characters and settings Anne encounters, the autobiographical connections between Anne and Maud Montgomery, and the book's astonishing range of literary, biblical, and mythological references. Additional essays offer fascinating background information on such topics as the geography and settlement of Prince Edward Island (where Anne takes place); the education, orphanages, music, and literature of Anne's time; and the horticulture, homemade artifacts, and food preparation that are so prevalent in the story. Margaret Anne Doody supplies a comprehensive introduction, which situates the novel in its literary and social contexts, explores those aspects of Montgomery's life most relevant to the story, examines revisions in the manuscripts, and provides an overall sense of both the impulses that drove Montgomery to write Anne of Green Gables and the larger concerns it dramatizes so compellingly. This edition also contains a chronology of Montgomery's life, an extensive bibliography, songs and poems that appear in the text, and a selection of original reviews of the book. This wealth of material enables readers to grasp the marvelous multi-layeredness of the novel and to understand more fully its place in both its own time and in ours. Elegantly and beautifully designed, with generous illustrations from previous editions, photographs of the places the novel inhabits, and explanatory drawings that reproduce the texture of Anne's world, The Annotated Anne of Green Gables is a major event in the publishing history of one of the world's most charming stories.

From a near standing start in the 1970s, the emergence and expansion of an aesthetically and culturally distinctive Scottish cinema proved to be one of the most significant developments within late-twentieth and early twenty-first-century British film culture. Individual Scottish films and filmmakers have attracted notable amounts of critical attention as a result. The New Scottish Cinema, however, is the first book to trace Scottish film culture's industrial, creative and critical evolution in comprehensive detail across a forty-year period. On the one hand, it invites readers to reconsider the known - films such as Shallow Grave, Ratcatcher, The Magdalene Sisters, Young Adam, Red Road and The Last King of Scotland. On the other, it uncovers the overlooked, from the 1980s comedic film makers who followed in the footsteps of Bill Forsyth to the variety of present-day Scottish film making - a body of work that encompasses explorations of multiculturalism, exploitation of the macabre and much else in between.In addition to analysing an eclectic range of films and filmmakers, The New Scottish Cinema also examines the diverse industrial, institutional and cultural contexts which have allowed Scottish film to evolve and grow since the 1970s, and relates these to the images of Scotland which artists have put on screen. In so doing, the book narrates a story of interest to any student of contemporary British film.