Ash and Tayshia are in pain. They've suffered together through something so unexplainable and so horrific that the only solace is in dreams. Ash can't look at her without feeling like she's going to shatter. Tayshia can't look at him without remembering what she tried so hard to forget. When they discover that they truly can meet each other in the their dreams, the search for answers is not as easy as they hope. As the search unfolds, Tayshia's strange mannerisms begin to fall into place like the pieces of a terrible puzzle. What is she hiding?

Reproduction of the original: Aylwin by Theodore Watts-Dunton

I came across an old photo recently and pondered the people in it. The person in the centre was my late brother, Norman G. Donald of the RAF. The other figures in the photo I do not know, though I suspect they were his flight instructors at North Battleford, Canada. The photo bears my brother's script "KING-PINS ALL!--N. BATTLEFORD." After qualifying as a pilot, he sailed back to England and was posted to RAF Hunsdon just north of London in 1942. He was soon flying Douglas Havocs and Bristol Beaufighters. Night fighters were a new school of defence, but it was hopeless finding enemy aircraft in the dark. The Turbinlite device was fitted to the Beaufighters and Havocs, and the idea was to find the enemy somehow, guided by ground control using heavy ground radar units (too heavy to carry in aircraft), turn on the Turbinlite searchlight, and illuminate the enemy aircraft. A single-engined Hurricane fighter flying alongside then shot down the enemy aircraft. It did help to see the target as this same sky was full of thousands of Allied aircraft, all trying to avoid each other.

Important American periodical dating back to 1850.

Reading, writing and the influence of Harold Bloom takes the work of the world’s best-known living literary critic and discovers what it is like to read ‘with’, ‘against’ and ‘beyond’ his ideas. The editors, Alan Rawes and Jonathon Shears, introduce the collection by assessing the impact of Bloom’s brand of agonistic criticism on literary critics and its ongoing relevance to a discipline attempting to redefine and settle on its collective goals. Firmly grounded in, though not confined to, Bloom’s first specialism of Romantic Studies, the volume contains essays that examine Bloom’s debts to high Romanticism, his quarrels with feminism, his resistance to historicism, the tensions with the ‘Yale School’ and his recent work on Shakespeare and genius. Crucially, chapters are also devoted to putting Bloom’s anxiety-themed ratios into practice on the poetry of Wordsworth, Shelley, Keats and D. H. Lawrence, amongst others. The Harold Bloom that emerges from this collection is by turns divisive and unifying, marginalised and central, radical and conservative.