'Paradise haunts gardens', writes Derek Jarman, 'and it haunts mine.' Jarman's public image is that of a film-maker of genius, whose work, dwelling on themes of sexuality and violence, became a byword for controversy. But the private man was the creator of his own garden-paradise in an environment that many might think was more of a hell than a heaven - in the flat, bleak, often desolate expanse of shingle that faces the Dungeness nuclear power station. Jarman, a passionate gardener from childhood, combined his painter's eye, his horticultural expertise and his ecological convictions to produce a landscape which combined the flints, shells and driftwood of Dungeness; sculptures made from stones, old tools and found objects; the area's indigenous plants; and shrubs and flowers introduced by Jarman himself. This book is Derek Jarman's own record of how this garden evolved, from its earliest beginnings in 1986 to the last year of his life. More than 150 photographs taken since 1991 by his friend and photographer Howard Sooley capture the garden at all its different stages and at every season of the year. Photographs from all angles reveal the garden's complex geometrical plan, its magical stone circles and its beautiful and bizarre sculptures. We also catch glimpses of Jarman's life in Dungeness: walking, weeding, watering, or just enjoying life. Derek Jarman's Garden is the last book Jarman ever wrote. Like the garden itself, it remains as a fitting memorial to a brilliant and greatly loved artist who, against all odds, made a breathtakingly beautiful garden in the most inhospitable of places. It will appeal to all those who are themselves practising gardeners, as well as the legions of admirers of this extraordinary man.

“For Blue there are no boundaries or solutions.” —Derek Jarman Originally released as a feature film in 1993, the year before the acclaimed artist and filmmaker Derek Jarman’s death due to an AIDS-related illness, Blue is a daring and powerful work of art. The film - and this highly-anticipated book’s text - serve as iconoclastic responses to the lack of political engagement with the AIDS crisis. Written poetically and surrealistically, Jarman’s text moves through myriad scenes, some banal, others fantastical. Stories of quotidian life––getting coffee, reading the newspaper, and walking down the sidewalk––escalate to visions of Marco Polo, the Taj Mahal, or blue fighting yellow. Facing death and a cascade of pills, Jarman presents his illness in delirium and metaphors. He contemplates the physicality of emotions in lyrical prose as he grounds this story in the constant return to Blue - a color, a feeling, a funk. Michael Charlesworth’s compelling introduction brings Blue into conversation with Jarman’s visual paintings as never before.

Ken Russell helms this graphic 1971 adaptation of a documented witchcraft case, which took place in France in 1634. Outspoken priest Urbain Grandier (Oliver Reed) finds himself accused of seducing a group of hysterical nuns while in demon form by Mother Superior Sister Jeanne (Vanessa Redgrave), who is obsessed with Grandier and driven into a fit of envy when he marries another woman. With the involvement of charismatic exorcist Father Barre (Michael Gothard), the affair turns into a sordid mass exorcism of the tainted convent. With much controversy surrounding its subject matter of religion combined with violence and sex, many cuts were made to the film in order for it to attain certification.

Read this meditative and inspiring diary of Derek Jarman's famous garden at Dungeness, which is also a powerful account of his life as an HIV positive man in the 1980s. In 1986 Derek Jarman discovered he was HIV positive and decided to make a garden at his cottage on the barren coast of Dungeness. Facing an uncertain future, he nevertheless found solace in nature, growing all manner of plants. While some perished beneath wind and sea-spray others flourished, creating brilliant, unexpected beauty in the wilderness. Modern Nature is both a diary of the garden and a meditation by Jarman on his own life: his childhood, his time as a young gay man in the 1960s, his renowned career as an artist, writer and film-maker. It is at once a lament for a lost generation, an unabashed celebration of gay sexuality, and a devotion to all that is living. 'An essential - urgent - book for the 21st Century' Hans Ulrich Obrist This new edition features an introduction from Olivia Laing, the author of Crudo

'I planted a dog rose. Then I found a curious piece of driftwood and used this, and one of the necklaces of holey stones on the wall, to stake the rose. The garden had begun. I saw it as a therapy and a pharmacopoeia.' In 1986 artist and filmmaker, Derek Jarman, bought Prospect Cottage, a Victorian fisherman's hut on the desert sands of Dungeness. It was to be a home and refuge for Jarman throughout his HIV diagnosis, and it would provide the stage for one of his most enduring, if transitory projects - his garden. Conceived of as a 'pharmacopoeia' - an ever-evolving circle of stones, plants and flotsam sculptures all built and grown in spite of the bracing winds and arid shingle - it remains today a site of fascination and wonder. Pharmacopoeia brings together the best of Derek Jarman's writing on nature, gardening and Prospect Cottage. Told through journal entries, poems and fragments of prose, it paints a portrait of Jarman's personal and artistic reliance on the space Dungeness offered him, and shows the cycle of the years spent there in one moving collage. '[Derek] made of this wee house, his wooden tent pitched in the wilderness, an artwork - and out of its shingle skirts, an ingenious garden - now internationally recognised. But, first and foremost, the cottage was always a living thing, a practical toolbox for his work' Tilda Swinton, from her Foreword

"Chroma: A Book of Color" is a meditation on the color spectrum by Britain's most controversial filmmaker. From the explosions of image and color in "Edward II," "The Last of England," "The Garden," and "Wittgenstein," to the somber blacks of his collages and tar paintings, Derek Jarman has consistently used color in unprecedented ways. In his signature style, a lyrical combination of classic theory, anecdote and poetry, Jarman takes the reader through the spectrum, introducing each color as an embodiment of an emotion, evoking memories or dreams.

'What started as a book on the frustration of funding led to the writing of an autobiography at forty... I had so little to do in the daylight hours, I stayed up late unbuttoning Levis in back rooms.' In 1984 at the age of 40, the polymath film-maker Derek Jarman began to write his journals. In the first of these diaries, Dancing Ledge, we see his origins as a young artist, written with Jarman's distinctive immediacy, curiosity, and candour. Behind-the-scenes of his first controversial films and stage designs, at glamorous launch parties with friends like David Hockney, Ossie Clarke and Patrick Proktor, to the trials of securing funding, Dancing Ledge is a coming-of-age memoir for all fledgling artists. Dancing Ledge also chronicles a unique time in British history, capturing gay nightlife from the end of the war to the beginning of the AIDS epidemic.

In CHROMA Derek Jarman explains the use of colour in Medieval paintingthrough the Renaissance to the modernists and draws on the great colour theorists from Pliny to Leonardo. He also talks about the meaning of colours in literature, science, philosophy, psychology, religion and alchemy. The colours on Jarman's palette are mixed with memory and insight to create an evocative and highly personal work.

'The life-affirming expression of an artist engaged in living to the full' The Times Smiling in Slow Motion is Derek Jarman's last journal, stretching from May 1991 until a fortnight before his death in February 1994. Jarman writes with his trademark humour and candour about friends and enemies, as he races through his final years of film-making, gardening and radical political protest. Written from Jarman's Charing Cross Road flat, his famed garden at Dungeness, and finally from his bed in St Bartholomew's Hospital, Jarman meditates on his own deteriorating health and the loss of his contemporaries. Yet Smiling in Slow Motion is not simply a chronicle of illness and regret: it is, at its heart, one of endeavour, determination and pride. WITH AN INTRODUCTION BY NEIL BARTLETT

Impassioned, witty and polemical, At Your Own Risk is Derek Jarman's defiant celebration of gay sexuality. In At Your Own Risk, Derek Jarman weaves poetry, prose, photographs and newspaper extracts into a rich tapestry of gay experience in the UK. The buttoned-up repression of the fifties and sixties makes way for liberation and free love in the seventies, only to be chased by the terror and pain of HIV/AIDS. This is Jarman at his passionate best, written when he was already ill with HIV and in the midst of the moral panic surrounding the AIDS crisis. Defiant and furious, he not only celebrates his own sexuality but skewers wider society for its brazen homophobia. Reissued here 25 years after Jarman's death, with an introduction by Straight Jacket author Matthew Todd, At Your Own Risk remains a singular work. It is a powerful reminder of how far we have come and how much further we have left to go. 'It blew my mind quite honestly !', It's A Sin star Olly Alexander via Twitter

'For days now I have tried to start this diary, but the clatter of my existence has warned me off; the first mark on the page eludes me. . . 'D erek Jarman's SMILING IN SLOW MOTION concludes the journey started in MODERN NATURE, these previously unpublished journals stretch from May 1991 until a fortnight before his death in February 1994. Part diary, part observation, part memoir, Jarman writes with his familiar honesty, wry humour and acuity. Friends, collaborators and enemies are catal ogued as he races through his last year painting, film-making, gardening, and annoying his targets through his involvement in radical politics.

Writing from his Charing Cross Road flat, on his visits to international film festivales, his world famous garden at Dungeness in Kent, and finally from hios bed in St Bartholomew's Hospital, Jarman illuminates an era which seems more ephemeral and out-of-grasp with each passing day. SMILING IN SLOW MOTION is not a document of illness, regret and resignation, but one of endeavour, remembrance and love.