This work tells of my life's journey from brokenness in overcoming adversity, restoration through the faith journey as a Christian in obedience and trust. It includes adventures from Grantham to the Holy Land through outreach to Jewish people. My story is no different from many others who have come to know and love the living God. The purpose in writing is not to dwell on all the damaging things in my life that have caused me and others grief, but to focus on the grace and mercy of God in transforming every situation and experience I have had, bringing healing, wholeness and freedom into my life. Coming to know God not as someone out there but deep within, pouring so much love into my being it was coming out of the top of my head, so much love I couldn't contain it all.

Graham Morgan has an MBE for services to mental health, and helped to write the Scottish Mental Health (2003) Care and Treatment Act. This is the Act under which he is now detained. START, published by Fledgling Press in 2017, was his memoir about his years of breakdowns, the harshness of his marriage and the beauty of falling in love with his partner, Wendy. It has been widely acclaimed as a must-read by mental health practitioners in the UK. Blackbird Singing is a continuation of those years, it tells tales of some of the things that have happened to Graham since START was published. It is a musing, a meandering through real life. It is not about drama, although there is drama. It is not about devastation, although there is devastation. This is a book about living, about understanding, about learning, about growing, about love and also grief; about summers walking the dog by the sea and winters when we are too tired to think. It is about answering the alarm when the world is so surreal and dark that school and work seem like an absurdity and because it is Graham, it is about the world of mental illness and compulsory treatment and trying to live a normal life when everyone says there is no such thing as normal.

The unsung hero of the equestrian world is the riding school horse or pony. Whether you are an Olympic showjumper, a long-distance riding competitor, a horse racing jockey or a mum who plods out on a Sunday, you most likely began your career on a riding school horse. Tippy joined my riding school in 2005. This is her true story.

In 2005, a group of Afghan actors endeavored to create an unusual dramatic performance--one that would bring theater to a region wounded after years of war with the Taliban and offer hope for healing. "A Night in the Emperor's Garden" is the captivating account of their resulting play and a rich exploration of the region's culture. In preparation, for five months, the group tirelessly reworked Shakespeare's "Love's Labour's Lost" into their own Dari language while the members brought their own experiences to the interpretation. One actor was a police detective and widow determined to create images of strong women. Another had trained at Kabul University before fleeing to Pakistan as a refugee. A third had played the title role in the acclaimed film "Osama," yet was a beggar who could barely read and write. Joined by a French actress who served as director and several other enthusiasts, these actors performed before royalty and street vendors alike for one night amid the ruins of a magnificent garden laid out five centuries earlier by Emperor Babur. For the first time in thirty years, men and women stood on stage together as they worked toward a new era in Afghanistan. Qais Akbar Omar and Stephen Landrigan, both involved in the production, have captured its exuberance and optimism along with the actors' joys and sorrows in the decade following the play. Revealing a side of Afghanistan largely unknown to outsiders, "A Night in the Emperor's Garden" tells the magical story of an artistic achievement with universal appeal.