Detective Lieutenant Jake Reed runs Hollywood Detective Division. He's pondering the brutal rape and murder of a young woman in the Hollywood Hills when he is stunned to receive a call form Mitch Thacker, a former partner from twenty years ago. Jake had assumed Thacker was long since dead from alcoholism. When Mitch finally persuades a reluctant Jake to meet the next day for a cup of coffee, the two men begin to resolve old differences. Their renewed friendship gets feisty on occasion and humorous on others. They unintentionally get involved in a minor incident which quickly develops into a complex investigation involving high placed corrupt officials, crooked cops, a headless corpse and the Mafia. The story is based on real events and told by the guys who've been there. A major investigation full of twists and turns, a variety of characters and the real dialogue of street smart detectives reveals the real L.A.P.D.

In their 'Guidebook for an Armchair Pilgrimage', authors Phil Smith, Tony Whitehead and photographer John Schott lead us on a ‘virtual’ journey to explore difference and change on their way to an unknown destination. They create a pilgrimage that any of us can follow, even if we are confined to our homes. To research the 'Guidebook' the authors went on an actual journey. 'Bonelines'​ is the secret story of that journey. Given the present circumstances it now appears prophetic, prescient and helpful, so they have decided to bring it into the light. ​It is written as a novel.

Phil Smith (Crabman/Mythogeography) and Tony Whitehead join forces with master photographer John Schott to lead readers on a `virtual’ journey to explore difference and change on their way to an unknown destination. “What is most real is what you have still to discover.” “Relax in your seat. Allow the train to take you along the water’s edge to the beginning point of your walking pilgrimage… When the train pulls into the platform, step off. Hidden behind the platform is a broken machine; a mechanised fortune teller – the `voice of truth’ – discarded from the nearby arcade of slot machines. Propped against the side of a building, its mouth is silent, its pronouncements have ceased; any truths you find today will be your own.” Pilgrimages – real and imagined - are always popular, sometimes compulsory. Bodh Gaya, Santiago, Mecca, Jerusalem, Puri: a few of the sites that beckon. The pilgrimage to the authentic self takes a similar path in an interior landscape. In the 15th century, Felix Fabri combined the two, using his visits to Jerusalem to write a handbook for nuns wanting to make a pilgrimage in the imagination, whilst confined to their religious houses. For Guidebook for an Armchair Pilgrimage, the authors followed Fabri’s example: first walking together over many weeks – not to reach a destination but simply to find one – then, in startling words and images, conjuring an armchair pilgrimage for the reader… along lanes and around hills, into caves and down to the coast. “We arrived again and again at what we assumed would be a final `shrine’, only to be drawn onwards and inwards towards another kind of finality… rather than reaching a destination, the pilgrimage was repeatedly reborn inside us, until its most recent rebirth in this book.” Over the course of the 19-day Armchair Pilgrimage, they invite us to experience the world around us just as they did as they walked. So, over the first three days, they suggest that we contemplate, among other things: • Our habit of generalising – acquired 40-50,000 years ago, when our `chapel’ mind of specialisms became a `cathedral’ mind • Our tendency to let one thing remind us of another thing • What it might be like to be an ocean where fish swim through us • How the world experiences us just as we experience it: `gently feel for the feelers feeling for you’ • A world where we tend to `add’ meaning and intensity • A world where we let go (without the aid of dementia) of memory, imagination, desire and wild fancy. And, as the pilgrimage concludes: “Returning is never going back to the same place.” “A brilliant idea, inviting us to `be present’ to a reality that is imagined and recorded, mediated by words and images. The feelings and emotions are no less `real’ than if we were actually standing in and experiencing that reality. I love the genius of words and images displayed here -- no less than the reality itself.” Carol Donelan, Professor of Cinema and Media Studies, Carleton College, Minnesota

The experience and variety of walking practices have never been so broad, relevant or unpredictable. Walking Bodies charts some of their very latest developments. Editors Helen Billinghurst, Claire Hind and Phil Smith put out a call for artists, activists, academics, radical walkers and psychogeographers to discuss, perform and share their experiences of current walking cultures. In these essays, provocations, artworks and documentations, new terrains emerge and diverse energies and thinkings reflect the huge response to the initial call and the demand for tickets to the conference. 'Walking Bodies' evidences anxieties, exclusions and gradual but major changes of direction for walking arts, towards more considered and embodied practices that re-navigate their terrains and challenge assumptions about trajectories through the unhuman world. Here are the beginnings of differently negotiated, shared, provoked and provocative ambulations.

In 2019 a group of book-lovers began to turn from their usual diet of contemporary novels to read classics of the ‘English eerie’ like Arthur Machen’s 'The Great God Pan'. The documents recovered, (edited by Phil Smith of 'Mythogeography'), and published here as 'Living In The Magical Mode', describe the subsequently inspired attempts of these readers – in a time of virus and social and climate catastrophe –– to live anew, with ‘magic-as-ordinary’, to do magic as if it were the washing up. At first, the readers fall on new ways of remaking their everyday lives in the magical mode, but the mode soon find ways to remake the readers. Challenging assumptions, magic turns lives upside down and shakes out mysteries. The documents of 'Living In The Magical Mode' describe a pulling back of veils, until all veils but one are exhausted; then the book-lovers put their hands upon the veil inside themselves.... 'Living In The Magical World' crosses dream wastelands, racecourses, motorway cafes, edgeland quarries and suburban valleys, in an adventure of encounters with ‘others’. It brings its readers to an occulted realm of unbounded desires that once unfolded refuses to recede. The surviving documents of the book club, reprinted here, describe the final frantic efforts of what remains of its members to understand a collision of many worlds and make novel webs of reconciliation.

'Ways to Wander' is your invitation to experiment with a whole range of different ways to 'go for a walk'. Rather than picking up a map and following a footpath, the book offers 54 intriguingly different suggestions, tactics and recollections, all submitted by artists (most of them involved with the Walking Artists Network). There are plenty of ideas you can just go out and try, but others are more performative or explore the psychological, cultural and philosophical aspects of walking Pop the book in your back pocket, leave it in your rucksack, share it with friends and take them on a walk, use it in creative workshops, read it as if each instruction were poetry, engage with each page as visual art or as a performance activity, let it remind you of places you've been or walks you'd like to do. When the moment takes you, be inspired by the variety of inventive and reflective ideas mapped out here and then simply... wander.

"A sensitive walk up any High Street is a Pilgrim's Progress" Phil Smith - playwright, walk-performance artist and author (Mythogeography and Counter-Tourism) - recently retraced W.G. Sebald's famous 'Rings of Saturn' walk round East Anglia. At one level On Walking describes this blistered walk from one incongruous B&B to the next, taking in places like Dunwich, Bungay, Covehithe, Orford Ness, Sutton Hoo and Rendlesham Forest - with their lost villages, Cold War testing sites, black dogs, white deer and alien trails. Phil Smith's walk soon becomes every bit as remarkable as Sebald's and he matches Sebald's erudition, originality and humour swathe for swathe. At a second level, the book sets out a unique kind of 'hyper-sensitised' walking for which the author is quietly famous. It burrows beneath the guidebook and the map, looks beyond the shopfront and Tudor facade and feels beneath the blisters and aches of the everyday. The Suffolk walk described here is an exemplary walk that goes beyond 'wandering around looking at stuff' and shows how every walk can be art, revolution and pilgrimage. At a third level, On Walking is an intellectual tour de force, encompassing Situationism, alchemy, dancing, jouissance, geology, psychogeography, 20th century cinema and old TV, architecture, grief, pilgrimage, WWII, the Cold War, Uzumaki, pub conversations, somatics and synchronicity.

Walking and movement artists often stumble when they describe the modes and registers of perception and expression they adopt in their practice. The attempt to represent their experience can end in a kind of somatic soup. Crab & Bee eschew the soup and, in this little book of poems and essays the prequel to their forthcoming book 'The Pattern' (2020) - they give us clear hints of where and how they find and make meaning in their work. They tell us, for example, that: the interpenetration of our human lives with the movement of the planet's watery channels (seas, rivers, underground watercourses, etc.) is constant, ubiquitous and important the movement of water connects so-called 'privileged points', actual landscape features and actual moments whose existence and potency has been keenly experienced by humans, more anciently than recently By reconnecting with the movement of the waters and with these privileged points, Crab & Bee re-engage with a 'magical mode'. This is what they invite us to share in their walks, prose and poetry. They suggest that the challenge (not just for walking artists but for all of us in a climate emergency) is to dissolve our artistic or habitual/life practice, to "sink into the dark forest beneath our feet", to embed ourselves in the grander patterns, systems and flows of our wet planet, to "feel our way, but also to allow what we feel to feel us, and direct us by its flows". In this book they give us a glimpse of how to do exactly that.