I am not a man, I am dynamite

Weeks before his final mental breakdown, Nietzsche set out to compose his autobiography, and Ecce Homo is the result. A summary of his life’s work as a philosopher, with chapter headings including ‘Why I Am So Wise’ and ‘Why I Write Such Good Books’, it is part mocking self-judgement and part battle cry, and remains one of the most singular, strange examples of the genre ever written.

Steve Cauthen commenced his 14-year 'English Odyssey' in April 1979. The erstwhile 'Kentucky Kid' had taken American racing by storm. A champion jockey at 17 and a Triple Crown winner at 18, the teenage prodigy became a bona fide celebrity but a slump of 110 consecutive losers saw him cross the Atlantic seeking to resurrect his career. Within weeks of his arrival 'The Kid' won an English Classic, the 2000 Guineas. He'd go on to become the only jockey to win both the Derby and the Kentucky Derby (plus those of Ireland, France and Italy); be the most recent jockey to win an English Triple Crown courtesy of Oh So Sharp in 1985; and secure three jockeys' championships - making him the only man to win titles in both America and England. Moreover, Cauthen was a supreme stylist who transformed English race-riding: his streamlined American toe-in-the-iron seat and clock-in-the-head judgement of pace sparking widespread imitation. The list of household names benefiting from his sublime talents are legion and this most articulate of jockeys recalls every one of them in his own inimitable style along with all the attendant highs and lows in this first complete retelling of his 'English Odyssey'.

What does it take to kill your fellow man?

The horrors of World War One yield the answer for one troubled young man from Littlemore who finds himself at war on two fronts: at home and in the trenches - where his enemies number comrades as well as Germans. His pursuit of inner peace leads to the ultimate sacrifice.

A terrified teenage boy plunges from a bridge into a river before a baying mob of his peers.

Jumping from the Black Bridge is a rite of passage for every Littlemore lad on the cusp of manhood. It is meant to represent a test of courage. But Max Lanham is a self-reliant only-child, unafraid to walk alone, a maverick who regards this as a futile gesture. He is torn: scared to jump but even more scared of the consequences of not doing so.

The ordeal marks Max Lanham out as a misfit and a man constantly at war with his conscience. His isolation is replicated in his dysfunctional family presided over by a manipulative mother Intellectual comfort he draws from a former teacher, now a conscientious objector; fellowship he derives from a simple farm-lad who hero-worships him; while physical solace he finds in the arms of the village prostitute. Ultimately, he seeks peace of mind by forgoing his place at Oxford University in favour of volunteering to fight in the trenches with the Ox & Bucks.

The horrors of war deepen his anguish. He sees operations botched; men routinely slaughtered. Even first-love cannot halt his slide toward madness.

Then a final family row reveals a secret that sends him hurtling toward his destiny. He must brave an ordeal worse than the Black Bridge.

One of the most iconoclastic philosophers of all time, Nietzsche dramatically rejected notions of good and evil, truth and God. Beyond Good and Evil demonstrates that the world is steeped in false piety and infected with a 'slave morality'. With wit and subversive energy, Nietzsche demands that the individual impose their own 'will to power' upon the world.

The Family Legacy Journal is the journal that will build the family legacy parents dream of in just ten minutes each day. Most families are caught up in a whirlwind of busyness that leaves them feeling disconnected. Without a method to slow the pace of everyday life, families drift apart. The Family Legacy Journal equips men and women to reconnect with their family or spouse with just ten minutes of journaling each day. Through the power of gratitude, reflection, and affirmation, parents are empowered to resist the typical whirlwind of activity and establish thriving family relationships.

While no one would dispute Wagner's ranking among the most significant composers in the history of Western music, his works have been more fiercely attacked than those of any other composer. Alleged to be an unscrupulous womanizer and megalomaniac, undeniably a racist, Wagner's personal qualities and attitudes have often provoked, and continue to provoke, intense hostility that has translated into a mistrust and abhorrence of his music.

In this emphatic, lucid book, Michael Tanner discusses why people feel so passionately about Wagner, for or against, in a way that they do not about other artists who had personal traits no less lamentable than those he is thought to have possessed. Tanner lays out the various arguments made by Wagner's detractors and admirers, and challenges most of them. The author's fascination for the relationships among music, text, and plot generates an illuminating discussion of the operas, in which he persuades us to see many of Wagner's best-known works anew--"The Ring Cycle, Tristan und Isolde, Parsifal." He refrains from lengthy and detailed musical examination, giving instead passionate and unconventional analyses that are accessible to all lovers of music, be they listeners or performers.

In this fiery reassessment of one of the greatest composers in the history of opera, Tanner presents one of the most intelligent and controversial portraits of Wagner to emerge for many years.

‘One must be superior to mankind in force, in loftiness of soul – in contempt’

In these two devastating works, Nietzsche offers a sustained and often vitriolic attack on the morality and the beliefs of his time, in particular those of Hegel, Kant and Schopenhaur. Twilight of the Idols is a ‘grand declaration of war’ on reason, psychology and theology that combines highly charged personal attacks on his contemporaries with a lightning tour of his own philosophy. It also paves the way for The Anti-Christ, Nietzche’s final assault on institutional Christianity, in which he identifies himself with the ‘Dionysian’ artist and confronts Christ; the only opponent he feels worthy of him.

In his introduction Michael Tanner discussed the themes of Nietzche’s argument and places the works in their historical and philosophical context.

The Birth of Tragedy created a furore on its first publication in 1871; it has since become one of the seminal books of European culture. Dedicated to Richard Wagner, The Birth of Tragedy is rich in Nietzsche's current enthusiasms for Greek literature and especially tragedy, for Schopenhauer and Wagner's Tristan Und Isolde. Its central vision is the idea that 'only as an aesthetic phenomenon are existence and the world justified'. Making his celebrated distinction between the Apollonian and the Dionysian spirit, Nietzsche presses us to consider why it is that we derive pleasure from tragic art, and what is the relationship between our experiences of suffering in life and in art. The Birth of Tragedy was his first book. Occasionally flawed and impetuous in argument, it is none the less a triumph of passionate energy and insight.

This strange and moving autobiography of Nietzsche was begun in late 1888, weeks before his final psychological breakdown.

For a century Nietzsche has been among the most controversial of modern writers. Since his death in 1900 he has been appropriated as an icon by an astonishingly diverse spectrum of people, whose interpretation of his philosophy have been equally varied. This introduction to his life and work examines the numerous ambiguities in his writings, traces his development, and explodes many misconceptions.

From Justin Roiland, co-creator of Rick and Morty, comes Orcs in Space, a wildly funny and absurd fantasy adventure set in deep space! Mayhem ensues! Volume 2 of Justin Roiland's hilarious series Orcs in Space finds Gor, Kravis, and Mongtar making new allies and enemies across the greater Galactigon. With the help of an increasingly sapient D.O.N.A., the orcs face off with an eccentric scrapper bot, a cantankerous cat mechanic, and incur the wrath of a biker gang called the Fuzzballs to discover the truth about D.O.N.A.'s mysterious creator. Will they survive the stand-off with evil scientist Dr. Smedley before Starbleep, the Space Rats, and the rest of the orc-hating universe hunt them down?

German Philosophers contains studies of four of the most important German theorists: Kant, arguably the most influential modern philosopher; Hegel, whose philosophy inspired an enduring vision of a communist society; Schopenhauer, renowned for his pessimistic preference for non-existence; and Nietzsche, who has been appropriated as an icon by an astonishingly diverse spectrum of people.

‘That which is done out of love always takes place beyond good and evil’

Beyond Good and Evil confirmed Nietzsche’s position as the towering European philosopher of his age. The work dramatically rejects the tradition of Western thought with its notions of truth and God, good and evil. Nietzsche demonstrates that the Christian world is steeped in a false piety and infected with a ‘slave morality’. With wit and energy, he turns from this critique to a philosophy that celebrates the present and demands that the individual imposes their own ‘will to power’ upon the world.

This edition includes a commentary on the text by the translator and Michael Tanner’s introduction, which explains some of the more abstract passages in Beyond Good and Evil.

In his last work, one of the great philosophers of the 20th century explores the pleasures of opera Bernard Williams, who died in 2003, was one of the most influential moral philosophers of his generation. A lifelong opera lover, his articles and essays, talks for the BBC, contributions to the Grove Dictionary of Opera, and program notes for the Royal Opera House, Covent Garden, and the English National Opera, generated a devoted following. This elegant volume brings together these widely scattered and largely unobtainable pieces, including two that have not been previously published. It covers an engaging range of topics from Mozart to Wagner, including sparkling essays on specific operas by those composers as well as Verdi, Puccini, Strauss, Debussy, Janacek, and Tippett. Reflecting Williams's brilliance, passion, and clarity of mind, these essays engage with, and illustrate, the enduring appeal of opera as an art form.

What does it take to kill your fellow man?

The horrors of World War One yield the answer for one troubled young man from Littlemore who finds himself at war on two fronts: at home and in the trenches - where his enemies number comrades as well as Germans. His pursuit of inner peace leads to the ultimate sacrifice.

A terrified teenage boy plunges from a bridge into a river before a baying mob of his peers.

Jumping from the Black Bridge is a rite of passage for every Littlemore lad on the cusp of manhood. It is meant to represent a test of courage. But Max Lanham is a self-reliant only-child, unafraid to walk alone, a maverick who regards this as a futile gesture. He is torn: scared to jump but even more scared of the consequences of not doing so.

The ordeal marks Max Lanham out as a misfit and a man constantly at war with his conscience. His isolation is replicated in his dysfunctional family presided over by a manipulative mother Intellectual comfort he draws from a former teacher, now a conscientious objector; fellowship he derives from a simple farm-lad who hero-worships him; while physical solace he finds in the arms of the village prostitute. Ultimately, he seeks peace of mind by forgoing his place at Oxford University in favour of volunteering to fight in the trenches with the Ox & Bucks.

The horrors of war deepen his anguish. He sees operations botched; men routinely slaughtered. Even first-love cannot halt his slide toward madness.

Then a final family row reveals a secret that sends him hurtling toward his destiny. He must brave an ordeal worse than the Black Bridge.

A rough and raunchy ride exposing the dark underbelly of the glamorous Victorian racing set in a taut fact-based story from acclaimed racing writer Michael Tanner. 'ARE THEY COMING?' The last words of champion jockey Fred Archer - nicknamed The Tinman. Whose arrival was he anticipating? Whose arrival did he dread? Mourning the death of his young wife and hounded by creditors, Archer's mind begins unravelling during the 1886 season. He is propped up against the demons threatening to destroy him mentally and racing's criminal element conspiring to do so physically by his friend, racing journalist Algy Haymer. As the action veers from the social whirl of the Victorian racecourse to the squalor of the slap-bangs of the London underworld, Haymer shields Archer from a Jockeys Betting Ring and its enforcers while confronting his own insecurities and a family scandal involving Archer. But Haymer hasn't allowed for the power of 'The Policy' or the predatory wiles of an old flame whose carnal designs on him are only exceeded by her desperation for cash. The repercussions prove devastating. Haymer's guilt demands atonement - and delivers a painful blow.

Blessed with a unique vocal ability, David Atkins is a timid young southern boy when, at the age of eight, he is introduced to a manipulative former opera diva, Carlotta Vasselli. Recognizing David's gift, Carlotta, with the aid of her husband, develops a plot which grants them ultimate control of David's life and talent. For ten years, Carlotta grooms him to become Ernesto Vasselli, an international opera star. As Ernesto, he experiences the highs of a sensational opera career spanning nineteen years in Italy until his relationship with an opera legend brings his career to an abrupt end. Ultimately betrayed by those closest to him, Ernesto is forced to make life-changing choices and flee for his life.

'A fine, intellectually sparkling and always engaging little book - a welcome addition to any Wagner library' Hans Vaget, Opera Quarterly. Whilst no one would dispute Wagner's ranking among the most significant composers in the history of Western music, his works have been more fiercely attacked than those of any other composer. His supposed personal defects have provoked intense hostility which has translated into a mistrust and abhorrence of his music. Tanner's fascination for the relationship between music, text and plot generates and illuminating discussion of the operas, in which he persuades us to see many of Wagner's best-know works afresh. His passionate and unconventional analyses are accessible to all lovers of music, be they listeners or performers.