This moving and timely book explores the way the First World War has been thought about and commemorated, and how it has affected its own, and later, generations.

On 11 November 1920, huge crowds lined the streets of London for the funeral of the Unknown Warrior. As the coffin was drawn on a gun carriage from the Cenotaph to Westminster Abbey, the King and Ministers of State followed silently behind. The modern world had tilted on its axis, but it had been saved. Armistice Day was born, the acknowledgement of the great sacrifice made by a whole generation of British men and women.

Now, almost a century later, Harry Patch, the last British veteran who saw active service, has died. Our final link with the First World War is broken.

Harry Patch was born in 1898 and was conscripted in 1916. He served with a Lewis gun team at the Battle of Passchendaele and in September 1917 was wounded by a shell that killed three of his comrades. After the war, Patch returned to Somerset to work as a plumber, a job he continued to do until his retirement.

The First World War was fought not by a professional army but by ordinary civilians like Patch, who epitomised Edwardian Britain and the sense, now lost, of what Britain stood for and why it was worth fighting for. The Last Veteran tells Patch's story, and explores the meaning of the war to those who fought in it and the generations that have followed. Peter Parker's illuminating and timely book is a moving tribute to a remarkable generation."

This book, from the series Primary Sources: Historical Books of the World (Asia and Far East Collection), represents an important historical artifact on Asian history and culture. Its contents come from the legions of academic literature and research on the subject produced over the last several hundred years. Covered within is a discussion drawn from many areas of study and research on the subject. From analyses of the varied geography that encompasses the Asian continent to significant time periods spanning centuries, the book was made in an effort to preserve the work of previous generations.

The authors take a scalpel to South Africa's system of criminal justice during the Apartheid era. They focus on the case of the Sharpeville Six to analyse how criminal justice was used to make convictions easy to secure. Analysing the technicalities of the criminal law, as well as the quality of evidence and judicial reasoning in the case against the Six, Parker and Mokhesi-Parker also convey vividly through letters from death row, the sense these people made of their impending executions and how an international campaign to save their lives succeeded with only 18 hours to spare.

Why is it that for many people 'England' has always meant an unspoilt rural landscape rather than the ever-changing urban world in which most English people live? What was the 'England' for which people fought in two world wars? What is about the English that makes them constantly hanker for a vanished past, so that nostalgia has become a national characteristic? In March 1896 a small volume of sixty-three poems was published by the small British firm of Kegan Paul, Trench, Trubner & Co. Ltd in an edition of 500 copies, priced at half-a-crown each. The author was not a professional poet, but a thirty-seven-year-old professor of Latin at University College, London called Alfred Edward Housman who had been obliged to pay GBP30 towards the cost of publication. Although slow to sell at first, A Shropshire Lad went on to become one of the most popular books of poetry ever published and has never been out of print. As well as being a publishing phenomenon, the book has had an influence on English culture and notions of what 'England' means, both in England itself and abroad, out of all proportion to its apparent scope. Housman Country will not only look at how A Shropshire Lad came to be written and became a publishing and cultural phenomenon, but will use the poems as a prism through which to examine England and Englishness. The book contains a full transcript of A Shropshire lad itself, also making it a superb present.

How did the delphinium get its name? Which parts of the body lend their names to auriculas and orchids? Who are the gentian, lobelia and heuchera named after? Why are nasturtiums and antirrhinums connected? What does an everlasting pea have to do with Indian miniature paintings? These are some of the questions answered in Peter Parker's adventurous exploration of the mysteries of Botanical Latin. Evolved over many centuries and often thought to belong to the rarefied world of scholars and scientists, this invented language is in fact a very useful tool for everyday gardening. It allows us to find our way around nurseries; it sorts out confusions when two plants have the same English name; and it gives us all kinds of information about how big or small a plant will grow, what shape or colour it will develop, and what habitat it prefers. In his lively survey, Parker agues that Botanical Latin is not merely useful, but fun. The naming of plants draws upon geography, social and medical history, folklore, mythology, language, literature, the human body, the animal kingdom and all manner of ancient beliefs and superstitions. The book, beautifully illustrated with old woodcuts, explains how and why plants have been named, includes handy lists of identifying adjectives, and takes the reader down some of the stranger byways of human endeavour and eccentricity.

Long unavailable, this acclaimed book traces the history of an ideal and examines its effect on the lives of those caught up in the First World War. Rupert Brooke's apparent enthusiasm for the War in 1914 was echoed throughout England, particularly by young men who had been educated in a gentlemanly tradition of patriotism, chivalry and sportsmanship at their public schools. These codes had also trickled down through society thanks to the school stories that appeared in popular boys' magazines, and to the missions and boys' clubs run by the schools and universities in the poorer parts of the country. Drawing upon a wealth of material, Peter Parker's fascinating book traces the growth and dissemination of what Wilfred Owen dismissed as 'the old lie' in his poem "Dulce Et Decorum Est." It also explores the wide variety of responses to the war--from celebration to denigration, from patriotic acquiescence to bitter rebellion--as they were reflected in the poetry, plays and prose of the period. The Old Lie unearths some truly bizarre notions about education and warfare and illuminatingly re-examines the literature of the First World War by placing it in its historical and social perspective.

On September 3, 1984 in Sharpeville, South Africa, a peaceful demonstration about rent erupted into a bloody battle between white police and black residents. The Apartheid government arrested, tried, and sentenced to death six people for allegedly killing a town councillor. After an unprecedented international campaign, the prisoners were ultimately granted clemency and released.

In the Shadow of Sharpeville explores the case in comprehensive, personal detail. Among the "Sharpeville Six" was Francis Mokhesi, whose sister, Joyce Mokhesi-Parker and coauthor, Peter Parker, here scrutinize the crime and its investigation by the police, the prosecution's case, and the response of the defense. They argue convincingly that the convictions were obtained because of the inventiveness of the judge and the selective attention paid to the evidence. The authors further examine the corrupting effect of the system on its victims, using Francis Mokhesi's letters from death row to show how an individual responds to the pain and fear of impending execution.

In the Shadow of Sharpevill reveals the obduracy of a regime which refused to understand how indefensible its behavior had become and which still believed that a state could declare war on its people and win.