Poems by 60 poets involved in The Practice of Poetry course( students, tutors and visiting poets)at the University of Warwick from 2000 to 2010; poems arranged alphabetically, with an introduction by David Morley. Poems by Peter Belgvad, Zoe Brigley, James Brookes, Phil Brown, Peter Carpenter, Swithun Cooper, Jane Holland, Luke Kennard, Anna Lea, Michael McKimm,Glyn Maxwell, David Morley, Jon Morley, Ruth Padel, Fiona Sampson, George Szirtes, George Ttoouli, Simon Turner and others.

The poems in this anthology celebrate a map, a man, and a science. The science is geology. The man is William Smith (1769 - 1839), civil engineer and geologist. The map is Smith's masterpiece: A Delineation of the Strata of England and Wales, with part of Scotland, the first geological map of an entire country, published in 1815. 2 As a working engineer, not a gentleman, Smith was unable to become a member of the newly formed Geological Society. His contribution to the new science of geology was initially dismissed by the Society, which set out to produce its own rival map. Coupled with some imprudent investments, Smith's venture culminated in a stretch in debtor's prison. By the time of his death in 1839, however, Smith's achievements had been recognised; in 1831 he was awarded the Geological Society's first Wollaston Medal in recognition of his work, and honoured by the Society's President, Adam Sedgwick, as 'the father of English geology'. To mark the two hundredth anniversary of its publication, I invited a number of poets to respond to the map, Smith's life, and his legacy. I was thrilled by the generosity and enthusiasm with which they embraced this invitation and the different routes their poems took. It was a pleasure to introduce many of them to the Geological Society's map up close and to listen to their astute and creative observations. There are poems in this anthology that tell the story of Smith's genius and his misfortune; poems about fossil hunting and map making; poems about the drive of the Industrial Revolution and our continuing reliance on fossil fuels. When most of us look at a map we look for home, and the same is true of many of these poets. But Smith's alien cartography of colour makes us see home in a radically different light, and so the poets, representing the geographical reach of Smith's map, confront the reader with new ways of seeing the landscape and history of Britain. Their poems illustrate not only the vibrancy and variety of contemporary poetry but also poetry's unique ability to take on uncharted territory with vision, to make connections and find relevance: the poems here make Smith's map anew in moving and surprising ways.

The 1990s was the decade in which the Soviet Union collapsed and Francis Fukuyama declared the 'end of history'. Nelson Mandela was released from prison, Google was launched and scientists in Edinburgh cloned a sheep from a single cell. It was also a time in which the president of the United States discussed fellatio on network television and the world's most photographed woman died in a car crash in Paris. Radical pop band The KLF burned a million quid on a Scottish island, while the most-watched programme on TV was Baywatch. Anti-globalisation protestors in France attacked McDonald's restaurants and American survivalists stockpiled guns and tinned food in preparation for Y2K. For those who lived through it, the 1990s glow in the memory with a mixture of proximity and distance, familiarity and strangeness. It is the decade about which we know so much yet understand too little. Taking a kaleidoscopic view of the politics, social history, arts and popular culture of the era, James Brooke-Smith asks - what was the 1990s? A lost golden age of liberal optimism? A time of fin-de-siecle decadence? Or the seedbed for the discontents we face today?

This volume contains newly edited versions of two of Walton's mature works for orchestra: the Partita for Orchestra, written in 1957 and one of ten works commissioned by the Cleveland Orchestra, and the Variations on a Theme by Hindemith, a work of great colour from 1962-3 and taking as its inspiration a theme from his friend Paul Hindemith.

This volume presents newly engraved and edited scores of all Walton's popular film scores, including the various Shakespeare suites and for the first time on sale his music for the film Battle of Britain.

The British public school is an iconic institution, a training ground for the ruling elite and a symbol of national identity and tradition. But beyond the elegant architecture and evergreen playing fields is a turbulent history of teenage rebellion, sexual dissidence, and political radicalism. James Brooke-Smith wades into the wilder shores of public-school life over the last three hundred years in Gilded Youth. He uncovers armed mutinies in the late eighteenth century, a Victorian craze for flagellation, dandy-aesthetes of the 1920s, quasi-scientific discourse on masturbation, Communist scares in the 1930s, and the salacious tabloid scandals of the present day. Drawing on personal experience, extensive research, and public school representations in poetry, school slang, spy films, popular novels, and rock music, Brooke-Smith offers a fresh account of upper-class adolescence in Britain and the role of elite private education in shaping youth culture. He shows how this central British institution has inspired a counterculture of artists, intellectuals, and radicals--from Percy Shelley and George Orwell to Peter Gabriel and Richard Branson--who have rebelled against both the schools themselves and the wider society for which they stand. Written with verve and humor in the tradition of Owen Jones's The Establishment: And How They Get Away With It, this highly original cultural history is an eye-opening leap over the hallowed iron gates of privilege--and perturbation.