Exodus is an exceptional Old English poem, written at a time when in the age of Bede Northern England held the intellectual leadership of Europe. It offers a vernacular gateway to the study of early medieval christian poetry. Focussing in dramatic fashion on the crossing of the Red Sea enabling the Israelites to escape captivity in Egypt the poem is stylistically outstanding, showing a use of metaphor and fusion of disparate concepts (such as abstract and concrete, literal and allegorical) unparalleled in Old English poetry. The exodus, the greatest of Old Testament events, is interpreted both within the historical perspective of other Old Testament events (the Deluge and the Offering of Isaac) and within the allegorical perspective of the exodus to the Promised Land seen as the christian's journey through life to the ultimate heavenly home. This book, now in its third edition, aims to make the poem more accessible, and better understood and appreciated than hitherto. A number of changes to the Introduction, Commentary and Glossary, as well as a new Select Bibliography, help to bring the apparatus up to date and draw attention to the many fine contributions to the poem made by other scholars.

Exodus is an exceptional Old English poem, written at a time when in the age of Bede Northern England held the intellectual leadership of Europe. It offers a vernacular gateway to the study of early medieval christian poetry. Focussing in dramatic fashion on the crossing of the Red Sea enabling the Israelites to escape captivity in Egypt the poem is stylistically outstanding, showing a use of metaphor and fusion of disparate concepts (such as abstract and concrete, literal and allegorical) unparalleled in Old English poetry. The exodus, the greatest of Old Testament events, is interpreted both within the historical perspective of other Old Testament events (the Deluge and the Offering of Isaac) and within the allegorical perspective of the exodus to the Promised Land seen as the christian's journey through life to the ultimate heavenly home. This book, now in its third edition, aims to make the poem more accessible, and better understood and appreciated than hitherto. A number of changes to the Introduction, Commentary and Glossary, as well as a new Select Bibliography, help to bring the apparatus up to date and draw attention to the many fine contributions to the poem made by other scholars.

Atmospheric indie noir thriller written by and starring Anton Pardoe. In a nameless nowhere city, a man known only as 'The Mad Monk' (Pardoe) returns to his dysfunctional crime-ridden family home, after a ten-year absence, to settle an old score and protect his long-time love, Porphyria (Roselyn Sanchez), from the threat posed by her Uncle Nikolai (Patrick Bauchau) and his evil henchman, The Rajah (Sam Thakur).

How exactly were books printed in the Middle Ages, before the age of printing? As Thomas Cahill's book, How the Irish Saved Civilization, dramatically demonstrates that without the medieval Irish monks' devotion to transcription, much of the knowledge of Western civilization would have been lost forever. At that time, the author was often his own scribe and almost invariably his own editor and publisher. In the age of manuscript culture, every copy of every book had to be copied by hand and so every copy was physically unique.

Peter J. Lucas explores what is known about the medieval publishing process by close study of the work of friar John Capgrave (1393-1464), a prolific author and one of the most learned Englishmen of his day. What distinguishes Capgrave from other medieval English authors is the wealth of manuscript evidence from the author's scriptorium. Lucas focuses on how works newly composed by an author were prepared in a form suitable for patrons and readers. Capgrave's linguistic and scribal usages are set in the socio-historical context of the fifteenth century, and related to the growth and development of English literary patronage in the late Middle Ages and early Renaissance. Lucas, who teaches Old and Middle English at University College, Dublin, was awarded the Gordon Duff Prize by Oxford University for his work on Capgrave.

This book offers something new, a full-length study of printing Anglo-Saxon (Old English) from 1566 to 1705, combining analysis of content and form of production. It starts from the end-product and addresses the practical issues of providing for printing Anglo-Saxon authentically, and why this was done. The book tells a story that is largely Cambridge-orientated until Oxford made an impact, largely thanks to Franciscus Junius from Leiden. There is a catalogue of all books containing Anglo-Saxon, with full details of their use of manuscript or printed sources. This information allows us to see how knowledge of Anglo-Saxon grew and developed.

David Lynch drama. Lynch breaks a long silence with a challenging piece of cinema about an actress going through some psychological trauma on the set of her latest film. Laura Dern plays Nikki Grace - an ingénue actress whose latest role - in a Tennessee Williams-esque fright of a film tests her to her limits. The director Kingsley Stewart (Jeremy Irons) is a cloying, creepy character. Grace is falling for her co-star Devon Berk (Justin Theroux) but if that was the central plot, this wouldn't be Lynch-land, would it? A parallel storyline shows an earlier attempt to make this film in Poland which ended in tragedy when the two lead players were offed. It's just shy of three hours of David Lynch at his eccentric, unpredictable best.

Three films from legendary American director David Lynch. In 'The Elephant Man' (1980), John Merrick (John Hurt) is a brutalised man, treated as a freak since childhood because of his appalling physical deformities, until he is discovered by London doctor Frederick Treves (Anthony Hopkins), who treats him with the kindness and intelligence he deserves. Unfortunately, by awakening his true character the problems continue, for he can never lead a 'normal' life. In 'Mulholland Drive' (2001), having narrowly survived a murder attempt and a car crash, a shocked and wounded woman (Laura Elena Harring) takes refuge in a nearby apartment. When she is discovered the next morning by the apartment's official resident, aspiring actress Betty Elms (Naomi Watts), she confesses that she neither knows who she is nor what happened to her. The two women then begin to investigate, and it gradually becomes clear that they have known each other in the past. Meanwhile, a young film director (Justin Theroux) finds that the mob are taking an unusual interest in the casting of his latest film. Finally, in 'Inland Empire' (2006), Laura Dern plays Nikki Grace, an ingenue actress whose latest role in a Tennessee Williams-esque fright of a film tests her to her limits. A parallel storyline shows an earlier attempt to make this film in Poland which ended in tragedy when the two lead players were offed.