Teacher Mr Bernard Boyle (aka Bernard0 B0ilinni Ringhi0 di R0ssi of the Orb Zeronia) was almost out of breath, but never of magical Boyle-Breaths - good and bad ('BOYLE-BREATH' - Bk1). Bernard had just been made Acting Head at Roquefort High School, and Bernard0 had saved a teenage school suicide 'jumper' off Roquefort's infamous '3Rs' bridge, its Rogue-Rapids Roadbridge; but at the action-packed end of Bernard's first term as a Depute Head ('BOYLE-BREATH BREATHES' - Bk2) the High's Mr Damien Mortenson had resigned. Aaron Brown somehow had survived; but Damien had had enough, especially his having found out that school bully-chief Nikki Dedson's evil-mentor Cameron Mitchell was his own (previously sent for adoption) son Quite why Dedson's helper-in-chief Aaron Brown had tried to kill himself was a secret known only to the Bernards and the boy himself. A new school term beckoned, so schoolchildren and their families did too (indeed Boyle's half-Zero children Rino and Zea were now both 13 - younger Zero girls catching up with '0' brothers in actual human age as well as the usual intelligence and behaviour). Bullying was continuing also; seances, ghosts and vampires, dream-haunting and clinical depression - but murder? Social Workers, they're always about somewhere, always for the best yeah? Immigrants and gypsies, angels and devils, tattooists and em referees? IEDs... (But what if that Time-shifting sniper Mortenson had been able to pull the trigger on Lady Di...; what if the Confederates won the American Civil War...would Abraham Lincoln have become a Vampire Slayer? That 'Butterfly Effect' theory, Ray, does it hold truth? Really, really?) Father Stephen O'Reilly, what of him...a Time-travelling priest? Bless me Father Remember HIM &HER? Mm well of course you do What if Richard and Faith decided to get married and tell everyone everything in the end? Nikki Dedson: the Bully extraordinaire? Yes, he's still alive, but he's in two worlds now. Is he still a bully? Of course he is, and in both Boyle-Breath is a stinker, but with all those earthly pongs and perfumes at his beck and call he could, he had, and he would continue to help change noses, minds, lives, worlds What was Mr Boyle to do first though? How was his Zeronian 'half' Bernard0 to help? Where was a question: Earth &/or Zeronia? When was the subsequent problem...the Past, the Present; the Future They'd begin...at the End. "Boyle-Breath Breathes" - 'BREATHTAKING ' The Zeronian Bugle.

This is not a guidebook in the broadest sense but a travelogue/memoir, colourfully illustrated with photographs for personal reflection and visual appreciation. Art is not limited to museums and galleries. It is everywhere if you just look and listen to the deepest recesses of your heart - wherein lies your own canvas. From a gloomy mindset of abjection to one full of hope and faith, this is an intimate account of a journey to a forgotten place of vastness and simplicity, a place of magnificence where nature and wildlife reign and inhabitants - forever grateful to the sacredness of the sanctuary - practice sustainable living in harmony. The author sees for the first time in her heart and soul, the abundance and blessings unconditionally endowed to all living creatures, while learning the true meaning of patience, compassion and humility. Through this engaging inner journey, readers join the adventure as Rosa recounts her inner landscape of the mind, the joy and sorrow and the universal themes of love and fear.

The photographic journey begins in the streets of Jo'burg in the late 1970's and ends in the rural and desert landscapes of the millennium. It is not a political A to Z or a documentary of our political past, but an observation of the lives of ordinary people and their daily survival choices as they have struggled and overcome the limiting circumstances of their lives - or simply reflected the tenor of their times. Most of the images are unpublished because they were taken in a time when there was no space for the ordinary. They 'fell through the cracks' because they were often considered too 'off beat' to make it. These photographs capture glimpses of life between the cracks before, after and while the political wheel was turning. They are about how people try to survive in so many different and extraordinary ways and the survival choices they make under often extreme conditions of hardship how they reflected themselves and how I absorbed their reflections, how they danced with reality, made light in the dark spaces, embraced each other at great risk.

A collection of essays, articles and reviews of photography by Marina Vaizey published in the past decade.Photography is the one art form in which we all participate.We all take photographs, are photographed, and look at photographs. A striking phenomenon of the post war period, the last half century or so, has been the proliferation of collections of photography in museums and galleries of all kinds, the integration of photography with the other fine arts, and the complementary increase of scholarship, publications and the attention of universities. Thus the expansion of photography in the visual universe has been both commercial, critical There have been auction prices for individual prints that have reached millions of dollars, and increasing attention not only to all of the categories of photography from documentation and reportage to what we might call art in all its guises. In Britain for example the variety of approaches is clear in the great national collections. The Victoria and Albert museum collected photography as part of its documentation of art, architecture and fashion, but also formed the first national collection of photography for its aesthetic values.The Science Museum, London's National Portrait Gallery, the National Portrait Gallery of Scotland, the National Monuments Record are other great collections. It is however only in the past ten years that Tate has established posts for dedicated curators in the field. The Museum of Modern Art in New York established in 1929, started to collect modern photography in 1930 and established its department in 1940. Both the Centre Pompidou and the Musee d'Orsay in Paris collect, curate and exhibit photography as a core part of their activity. So the histories are various.What is clear however is that both historic and contemporary photography, however the ramifications of the digital age we now inhabit, is of inescapable importance in how we view and understand the world around us. And that this significance is now universally recognised. MV

Go beyond London's famous landmarks and discover the hidden gems. From secluded mews and undiscovered cafes to flower markets and tree-lined streets, prettycitylondon champions the quiet, gentle moments that allow you to escape in a huge capital city like London. If you know where to look, you will find that traditional shopfronts, vintage transport, artisan bakeries, whimsical florists and timeless bookstores are but a hop, skip and a jump from the centre, and some right in the middle. Full of the unexplored and less-appreciated areas of London, this stunning guide also includes tips on how to plan and photograph your own prettycitylondon experience, whether on foot or dreaming from afar.

The Theatre of Apparitions is a highly anticipated body of work by one of the most original image-makers of our times, whose remarkable artistic trajectory spans the past 40 years. This book is the culmination of his ongoing study of the connections between photography, drawing, the mind and the body. Created between the years 2004 and 2008, these 90-odd black-and-white images encourage viewers to delve deep into the darkest part of their psyches. The images in this new monograph were inspired by the simple act of drawing on windows - a practice that Ballen observed first-hand in many communities. From there, he started to experiment using different spray paints on glass and then `drawing on' or removing the paint with a sharp object to let natural light through. Finally, he photographed the results with a macro lens using black-and-white film. These black, dimensionless spaces effectively operate as canvases onto which Ballen projects pictorially his thoughts and emotions, creating, in effect, a theatre of the mind. The plates are separated into seven chapters or `acts', with each one introduced by a text written by Ballen himself. Carving out a realm that is both earthly and otherworldly, physical and spiritual, his work transcends all traditional concepts of photography.