"I'll Gather Daffodils" is a touching collection of original poems celebrating God's wondrous creation, from the love of family and warmth of friends to the earth's awe-inspiring nature and changing seasons. From Kay Hoffman's own life experience comes this outpouring of praises and tributes. Surrounded by the picturesque mountains and farmlands of Western Pennsylvania, and by the love she shares with family and friends, Kay has put into words what many others feel but are unable to express. Many poems in this book were inspired by small comforts and delights from God. At the lowest points in her life, Kay found that God lifted her spirit through poetry. In sharing these now, it is her desire that others may be comforted and cheered as they contemplate the birth of a child, the laughter of children, the magic of Christmas, the magnificent and ever-changing world we live in. It is in quiet times that God ministers to us through prayer and poems of praise. Let these poems open your awareness to the gifts God has blessed us with.

Writing inspirational poetry has been a life-changing experience for Kay Hoffman. Like many others, she finds that God speaks to her through poetry, whether it be her own or other's writing. Many of the poems in this book were inspired by small comforts and delights from God. At the lowest points in her life, she found theat God lifted her spirit through poetry. Out of her heart, Kay has been able to express what others may feel but are unable to say.

In the late 1960s, the cinema was pronounced dead. Television, like a Biblical Cain had slain his brother Abel, bewitching the mass audience and provoking an exodus - from the cinemas to the living room. Some 30 years later, a remarkable reversal: rarely has the cinema been more popular, as inner-city multiplexes record rising attendances. And yet, rarely has the cinema's future seemed more uncertain. 70-80 per cent of all films shown on commercial screens come from Hollywood, launched with publicity campaigns costing more than the total budget of most European films. Television, the independent cinema's chief financier for the past decades, cannot match these investments, not can it compete, even if it wanted to, with the barrage of special effects. The New Media, virtual images, the relentless digitization of reality, it is argued, are responsible for the global concentration of production, which in turn leads to the global uniformity of the products. Just as Cain and Abel are about to bury their differences, then along comes Cable to resolve them both into mere myriads of pixels. Beyond the hyperbole and the metaphors, "Cinema Futures: Cain, Abel or Cable?" presents an argument about predictions that tend to be made when new technologies appear. Television did not swallow radio, just as it did not replace the cinema. Yet each new technological medium has certainly changed the place of the others in society and affected their function. What do these precedents tell us about the future of the cinema in the digital age, or rather for the future of the "experience cinema", as it redefines itself in the home and in public? The authors of this book are realistic in their estimate of the future of cinema's distinctive identity, and optimistic that the different social needs audiences bring to the media will ensure their distinctiveness. The book also contains case studies, and should be useful to anyone interested in a better understanding of the changes facing the worlds of sound and vision.