Poet, artist, visionary and author of the unofficial English national anthem 'Jerusalem', William Blake is an archetypal misunderstood genius. In this radical new biography, we return to a world of riots, revolutions and radicals, discuss movements from the Levellers of the sixteenth century to the psychedelic counterculture of the 1960s, and explore the latest discoveries in neurobiology, quantum physics and comparative religion to look afresh at Blake's life and work - and, crucially, his mind. Taking the reader on wild detours into unfamiliar territory, John Higgs places the bewildering eccentricities of a most singular artist into context and shows us how Blake can help us better understand ourselves.

The Beatles are the biggest band there has ever been. James Bond is the single most successful movie character of all time. They are also twins. Dr No, the first Bond film, and 'Love Me Do', the first Beatles record, were both released on the same day - Friday, 5 October 1962. Most countries can only dream of a cultural export becoming a worldwide phenomenon on this scale. For Britain to produce two on the same windy October afternoon is unprecedented. Bond and the Beatles present us with opposing values, visions of Britain and ideas about male identity. LOVE AND LET DIE is the story of a clash between working-class liberation and establishment control, and how it exploded on the global stage. It explains why James Bond hated the Beatles, why Paul McCartney wanted to be Bond and why it was Ringo who won the heart of a Bond Girl in the end. Told over a period of sixty dramatic years, this is an account of how two outsized cultural monsters continue to define our aspirations and fantasies and the future we are building. Looking at these touchstones in this new context will forever change how you see the Beatles, the James Bond films and six decades of British culture.

'The best non-fiction book I've ever read. It's magical. Stunning' Dan Schreiber, No Such Thing As a Fish 'A pop biography for people who don't read pop biographies' Dorian Lynskey, Guardian 'Brilliant, discursive and wise' Ben Goldacre 'Utterly irresistible and totally brilliant' The Quietus 'A thing of endlessly fascinating, utterly demented genius' Alexis Petridis They were the bestselling singles band in the world. They had awards, credibility, commercial success and creative freedom. Then they deleted their records, erased themselves from musical history and burnt their last million pounds in a boathouse on the Isle of Jura. And they couldn't say why. This is not just the story of The KLF. It is a book about Carl Jung, Alan Moore, Robert Anton Wilson, Ken Campbell, Dada, Situationism, Discordianism, magic, chaos, punk, rave, the alchemical symbolism of Doctor Who and the special power of the number twenty-three. Wildly unauthorised and unlike any other music biography, THE KLF is a trawl through chaos on the trail of a beautiful, accidental mythology. 10th ANNIVERSARY EDITION UPDATED WITH NEW MATERIAL

The Beatles are the biggest band there has ever been. James Bond is the single most successful movie character of all time. They are also twins. Dr No, the first Bond film, and 'Love Me Do', the first Beatles record, were both released on the same day - Friday, 5 October 1962. Most countries can only dream of a cultural export becoming a worldwide phenomenon on this scale. For Britain to produce two on the same windy October afternoon is unprecedented. Bond and the Beatles present us with opposing values, visions of Britain and ideas about male identity. LOVE AND LET DIE is the story of a clash between working-class liberation and establishment control, and how it exploded on the global stage. It explains why James Bond hated the Beatles, why Paul McCartney wanted to be Bond and why it was Ringo who won the heart of a Bond Girl in the end. Told over a period of sixty dramatic years, this is an account of how two outsized cultural monsters continue to define our aspirations and fantasies and the future we are building. Looking at these touchstones in this new context will forever change how you see the Beatles, the James Bond films and six decades of British culture.

A journey along one of Britain's oldest roads, from Dover to Anglesey, in search of the hidden history that makes us who we are today. 'A bravura piece of writing - Bill Bryson on acid' Tom Holland Winding its way from the White Cliffs of Dover to the Druid groves of Anglesey, the ancient road of Watling Street has gone by many different names. It is a road of witches and ghosts, of queens and highwaymen, of history and myth, of Bletchley Park codebreakers, Chaucer, Boudicca, Dickens and James Bond. But Watling Street is not just the story of a route across our island. It is an acutely observed exploration of Britain and who we are today, told with wit and an unerring eye for the curious and surprising.

'If a thing loves, it is infinite' William Blake A short, impassioned argument for why the visionary artist William Blake is important in the twenty-first century The visionary poet and painter William Blake is a constant presence throughout contemporary culture - from videogames to novels, from sporting events to political rallies and from horror films to designer fashion. Although he died nearly 200 years ago, something about his work continues to haunt the twenty-first century. What is it about Blake that has so endured? In this illuminating essay, John Higgs takes us on a whirlwind tour to prove that far from being the mere New Age counterculture figure that many assume him to be, Blake is now more relevant than ever.

The island of Sicily is at the heart of the Mediterranean and from ancient times to the present day it has been a hub of migration and settlement. Following on from the British Museum's critically acclaimed 2016 exhibition Sicily: culture and conquest, this volume considers the history and material culture of the different peoples occupying Sicily at key points in the island's history. Part I concentrates on ancient Sicily during the time of Greek settlement, exploring themes such as the creation of urban centres during this period and the production of Sicilian terracotta between the 5th and 4th centuries BC. In Part II, the focus shifts to the Middle Ages, Sicily's period of enlightenment under Muslim and Norman rules, with key themes including Norman identity and the use of the Norman legacy in the 19th century. With contributions from international experts in the field, the volume presents new insights into the economy, architecture and social identity of the island, including research on recently excavated sites. The result is a rich collection of essays that provides a comprehensive overview of this cosmopolitan island's unique identity and its significance in a wider Mediterranean context.

When we look into the future, we imagine economic collapse, environmental disaster and the zombie apocalypse. But what if we are wrong? John Higgs takes us on a journey past the technological hype and headlines to discover why we shouldn't trust the predictions of science fiction, why nature is not as helpless as we assume and why purpose can never be automated. In the process, we will come to a better understanding of what lies ahead and how, despite everything we can build a better future.

'An illuminating work of massive insight' Alan Moore 'A sensational book. Heartily recommended' Rufus Hound It is the century about which we know too much, yet understand too little. With disorientating ideas such as relativity, cubism, the id, existentialism, chaos mathematics and postmodernism to contend with, the twentieth century, John Higgs argues, cannot fit easily into a traditional historical narrative. Time, then, for a new perspective. Higgs takes us on a refreshingly eclectic journey through the knotty history of the strangest of centuries. In the company of radical artists, scientists, geniuses and eccentrics, he shows us how the elegant, clockwork universe of the Victorians became increasingly woozy and uncertain; and how in the twentieth century we discovered that our world is not just stranger than we imagine, but 'stranger than we can imagine'.