For the millions of home cooks who swear by the ease and convenience of the slow cooker, this book provides a new array of healthy, delicious recipes. And for the millions of vegetarians looking for simple, hearty fare, this book introduces them to the magic of slow cooking. The book proves that slow cookers can be used for much more than just tough, inexpensive cuts of meat. They are perfect for vegetarian and healthy cooking because slow cooking is a foolproof way to make beans, grains, root vegetables, in preparations such as Spicy White Bean and Sweet potato Stew with Collards, Balsamic-Glazed Carrots and Parsnips, and Boston Brown Bread. Stuffed vegetables such as Bell Peppers Stuffed with Couscous and Lentils, are moist and tender, with none of the oven's dryness. Even desserts such as Chocolate Fancy Fondue and Brandy-Laced Pear Brown Betty, are sensational.

The old songs will have to change.
No more hymns to our faithlessness and deceit.
Apollo, god of song, lord of the lyre,
never passed on the flame of poetry to us.
But if we had that voice, what songs
we'd sing of men's failings, and their blame. History is made by women, just as much as men.
Medea has been betrayed. Her husband, Jason, has left her for a younger woman. He has forgotten all the promises he made and is even prepared to abandon their two sons. But Medea is not a woman to accept such disrespect passively. Strong-willed and fiercely intelligent, she turns her formidable energies to working out the greatest, and most horrifying, revenge possible.
Euripides' devastating tragedy is shockingly modern in the sharp psychological exploration of the characters and the gripping interactions between them. Award-winning poet Robin Robertson has captured both the vitality of Euripides' drama and the beauty of his phrasing, reinvigorating this masterpiece for the twenty-first century.

Longlisted for the Highland Book Prize 2020 ‘I’ve long admired Robin Robertson’s narrative gift . . . If you love stories, you will love this book.’ Val McDermid The new book from the author of The Long Take, shortlisted for the Booker Prize and winner of both the Walter Scott Prize and the Goldsmiths Prize. Like some lost chapters from the Celtic folk tradition, Grimoire tells stories of ordinary people caught up, suddenly, in the extraordinary: tales of violence, madness and retribution, of second sight, witches, ghosts, selkies, changelings and doubles, all bound within a larger mythology, narrated by a doomed shape-changer – a man, beast or god. A grimoire is a manual for invoking spirits. Here, Robin Robertson and his brother Tim Robertson – whose accompanying images are as unforgettable as cave-paintings – raise strange new forms which speak not only of the potency of our myths and superstitions, but how they were used to balance and explain the world and its predicaments. From one of our most powerful lyric poets, this is a book of curses and visions, gifts both desired and unwelcome, characters on the cusp of their transformation – whether women seeking revenge or saving their broken children, or men trying to save themselves. Haunting and elemental, Grimoire is full of the same charged beauty as the Scottish landscape – a beauty that can switch, with a mere change in the weather, to hostility and terror.

Shortlisted for the Man Booker Prize 2018 Winner of the Goldsmiths Prize 2018 Winner of The Roehampton Poetry Prize 2018 Winner of the 2019 Walter Scott Prize for Historical Fiction 'A beautiful, vigorous and achingly melancholy hymn to the common man that is as unexpected as it is daring.' --John Banville, Guardian A noir narrative written with the intensity and power of poetry, The Long Take is one of the most remarkable - and unclassifiable - books of recent years. Walker is a D-Day veteran with post-traumatic stress disorder; he can't return home to rural Nova Scotia, and looks instead to the city for freedom, anonymity and repair. As he moves from New York to Los Angeles and San Francisco we witness a crucial period of fracture in American history, one that also allowed film noir to flourish. The Dream had gone sour but - as those dark, classic movies made clear - the country needed outsiders to study and dramatise its new anxieties. While Walker tries to piece his life together, America is beginning to come apart: deeply paranoid, doubting its own certainties, riven by social and racial division, spiralling corruption and the collapse of the inner cities. The Long Take is about a good man, brutalised by war, haunted by violence and apparently doomed to return to it - yet resolved to find kindness again, in the world and in himself. Robin Robertson's The Long Take is a work of thrilling originality.

Robin Robertson has built a publishing record of successful books in the vegetarian/vegan category. Her earlier cookbook, Fresh from the Vegetarian Slow-Cooker, established her bona fides as an expert on the creative use of slow-cookers, and her entire body of work speaks to her ingenuity in the kitchen and the breadth of enticing ingredients and flavors with which she works. Fresh from the Vegan Slow-Cooker provides practical guidence on how to work with different models of slow-cookers, taking into account the sizes of various machines, the variety of settings they offer, and the quirks and personalities of each device. She addresses any lingering skepticism readers may have about whether slow-cookers can have delicious, meat-free applications, and she shows how to take into account the water content of vegetables and the absorptive qualities of grains when vegan slow-cooking. Fresh from the Vegan Slow-Cooker includes eleven recipe chapters, four of which focus on main courses. There are homey and comforting foods in the American and European style, such as a Rustic Pot Pie Topped with Chive Biscuits and a Ziti with Mushroom and Bell Pepper Ragu, and there are lots of East Asian, South and Southeast Asian, and Mexican/Latin dishes, too. Beans, which cook slowly under any circumstance, are fabulously well-suited to the slow cooker, and Robertson includes such appealing recipes as a Crockery Cassoulet and a Greek-Style Beans with Tomatoes and Spinach. Eighteen robust chilis and stews - two more categories that do well in the slow-cooker - include a warming Chipotle Black Bean Chili with Winter Squash and a surprising but yummy Seitan Stroganoff. Beyond the mains, there are chapters devoted to snacks and appetizers, desserts, breads and breakfasts, and even one on drinks. The many soy-free and gluten-free recipes are clearly identified. Altogether, the collection offers readers loads of ways to expand their vegan repertoire and to get maximum value from their investment in a slow-cooker.

This book represents the best of the first three years of the Society for Chaos Theory in Psychology conferences. While chaos theory has been a topic of considerable interest in the physical and biological sciences, its applications in psychology and related fields have been obscured until recently by its complexity. Nevertheless, a small but rapidly growing community of psychologists, neurobiologists, sociologists, mathematicians, and philosophers have been coming together to discuss its implications and explore its research possibilities.
Chaos theory has been termed the first authentic paradigm shift since the advent of quantum physics. Whether this is true or not, it unquestionably bears profound implications for many fields of thought. These include the cognitive analysis of the mind, the nature of personality, the dynamics of psychotherapy and counseling, understanding brain events and behavioral records, the dynamics of social organization, and the psychology of prediction. To each of these topics, chaos theory brings the perspective of dynamic self-organizing processes of exquisite complexity. Behavior, the nervous system, and social processes exhibit many of the classical characteristics of chaotic systems -- they are deterministic and globally predictable and yet do not submit to precise predictability.
This volume is the first to explore ideas from chaos theory in a broad, psychological perspective. Its introduction, by the prominent neuroscientist Walter Freeman, sets the tone for diverse discussions of the role of chaos theory in behavioral research, the study of personality, psychotherapy and counseling, mathematical cognitive psychology, social organization, systems philosophy, and the understanding of the brain.

A collection of stories from some of the world's greatest writers about their own public humiliation. Humiliation is not, of course, unique to writers. However, the world of letters does seem to offer a near-perfect micro-climate for embarrassment and shame. There is something about the conjunction of high-mindedness and low income that is inherently comic; something about the very idea of deeply private thoughts - carefully worked and honed into art over the years - being presented to a public audience of dubious strangers, that strays perilously close to tragedy. Here, in over eighty contributions, are stories about the writer's audience, the fellow readers, the organiser, the venue, the 'hospitality', or the often interminable journey there and back. Then there are the experiences of teaching and being taught, reviewing and being reviewed, of festivals and writers' retreats, symposia, signing sessions, literary parties and prizes, the trips abroad, with all the attendant joys of translation and, finally, the bright worlds of television and radio that can bring so many more people to share in your shame. These are the best stories: those told against the teller. And for the reader, apart from the sheer schadenfreude of it all, there is admiration too: for that acknowledgement of human frailty, of punctured pride, but also of the seeming absurdity of trying to bring private art into the public space. Contributions from, amongst others: Simon Armitage, Margaret Atwood, Julian Barnes, Louis de Bernieres, Margaret Drabble, Roddy Doyle, AL Kennedy, John Lanchester, Patrick McCabe, Rick Moody, Andrew Motion, Andrew O'Hagan, Colm Toibin, Irvine Welsh, James Wood.

Longlisted for the Highland Book Prize 2020 From the author of The Long Take, shortlisted for the Booker Prize and winner of both the Walter Scott Prize and the Goldsmiths Prize. 'I've long admired Robin Robertson's narrative gift . . . If you love stories, you will love this book.' Val McDermid Like some lost chapters from the Celtic folk tradition, Grimoire tells stories of ordinary people caught up, suddenly, in the extraordinary: tales of violence, madness and retribution, of second sight, witches, ghosts, selkies, changelings and doubles, all bound within a larger mythology, narrated by a doomed shape-changer - a man, beast or god. A grimoire is a manual for invoking spirits. Here, Robin Robertson and his brother Tim Robertson - whose accompanying images are as unforgettable as cave-paintings - raise strange new forms which speak not only of the potency of our myths and superstitions, but how they were used to balance and explain the world and its predicaments. From one of our most powerful lyric poets, this is a book of curses and visions, gifts both desired and unwelcome, characters on the cusp of their transformation - whether women seeking revenge or saving their broken children, or men trying to save themselves. Haunting and elemental, Grimoire is full of the same charged beauty as the Scottish landscape - a beauty that can switch, with a mere change in the weather, to hostility and terror.

THE ACCLAIMED TRANSLATION BY ROBIN ROBERTSON (FORWARD PRIZE, MAN BOOKER PRIZE SHORTLIST 2018) Euripides' Medea, the brutally powerful ancient Greek tragedy that reverberates down the centuries, has been brought to fresh and urgent life by one of our best modern poets. Medea has been betrayed. Her husband Jason has left her for a younger woman. He has forgotten all the promises he made and is even prepared to abandon their two sons. But Medea is not a woman to accept such disrespect passively. Strong-willed and fiercely intelligent, she turns her formidable energies to working out the greatest, and most horrifying, revenge possible... Suitable for the general reader as well as for students and performers. 'In Robertson's lucid, free-running verse, Medea's power is released into the world, fresh and appalling, in words that seem spoken for the first time' Anne Enright 'This version of Medea is vivid, strong, readable and brings triumphantly into modern focus the tragic sensibility of the ancient Greeks' John Banville 'Robertson's achievement is to make the dialogue flow without losing the unsettling poetry of the original' Financial Times

Rivers were the arteries of our first civilizations - the Tigris and Euphrates of Mesopotamia, India's Ganges, Egypt's Nile, the Yellow River of China - and have nourished modern cities from London to New York, so it is natural that poets have for centuries drawn essential meanings and metaphors from their endless currents. English poets from Shakespeare and Dryden, Wordsworth and Byron to Ted Hughes, John Betjeman and Alice Oswald; Irish poets - Eavan Boland, Seamus Heaney, Paul Muldoon, to name but a few; Scottish and Welsh poets from Henry Vaughan and Robert Louis Stevenson to Robin Robertson and Gillian Clarke. A whole raft of American poets from Whitman, Emerson and Emily Dickinson to Langston Hughes, Mary Oliver, Natasha Trethewey and Grace Paley. Folk songs. African-American spirituals. Poems from ancient Egypt and Rome. From medieval China and Japan. And a truly international selection of modern poets from Europe (France, Italy, Russia, Serbia), India, Africa, Australia and South and Central America, all combining in celebration of the rivers of the world. From the Mississippi to the Limpopo. From the Dart to the Danube. Plunge in.

In this, his 75th year, Tomas Transtromer can be clearly recognised not just as Sweden's most important poet, but as a writer of international stature whose work speaks to us now with undiminished clarity and resonance. Long celebrated as a master of the arresting, suggestive image, Transtromer is a poet of the liminal: drawn again and again to thresholds of light and of water, the boundaries between man and nature, wakefulness and dream. A deeply spiritual but secular writer, his scepticism about humanity is continually challenged by the implacable renewing power of the natural world. His poems are epiphanies rooted in experience: spare, luminous meditations that his extraordinary images split open - exposing something sudden, mysterious and unforgettable."

Robin Robertson's fourth collection is an intense, moving, bleakly lyrical, and at times shocking book. These poems are written with the authority of classical myth, yet sound utterly contemporary. The poet's gaze--whether on the natural world or the details of his own life-- is unflinching and clear, its utter seriousness leavened by a wry, dry, and disarming humor.

Alongside fine translations from Neruda and Montale and dynamic retellings of stories from Ovid, the poems here pitch the power and wonder of nature against the frailty and failure of the human. This is a book of considerable grandeur and sweep that confirms Robertson as one of the most arresting and powerful poets at work today.

To "swither" means to suffer indecision or doubt, but there is no faltering in these poems; any uncertainty is not in the lines or the sounds or the images, but only in the themes of flux and change and transformation that thread their way through this powerful third collection. Robin Robertson has written a book of remarkable cohesion and range that calls on his knowledge of folklore and myth to fuse the old ways with the new. From raw, exposed poems about the end of childhood to erotically charged lyrics about the end of desire, from a brilliant retelling of the metamorphosis and death of Actaeon to the final freeing of the waters in "Holding Proteus," these are close examinations of nature--of the bright epiphanies of passion and loss.
At times sombre, at times exultant, Robertson's poems are always firmly rooted in the world we see, the life we experience: original, precise, and startlingly clear.

Humiliation is not, of course, unique to writers. However, the world of letters does seem to offer a near-perfect micro-climate for embarrassment and shame. There is something about the conjunction of high-mindedness and low income that is inherently comic; something about the very idea of deeply private thoughts -- carefully worked and honed into art over the years -- being presented to a public audience of dubious strangers, that strays perilously close to tragedy. These seventy contributions prove it is possible to reverse Auden's dictum: that art is born out of humiliation.

In these forty-two poems, Robin Robertson demonstrates an astonishing range of style and concerns, in a voice that is utterly original. Whether he is rendering a dramatic new version of Ovid ("The Flaying of Marsyas") or celebrating the ambiguous pleasures of food ("Artichoke"), Robertson's poetry is always lucid, sensuous, and compelling. These are poems that speak of the wounds of memory, the implacable coupling of desire and loss, the fugitive nature of things. Elegant and profound, A Painted Field has proved a stunning debut.

This stunning translation, by the acclaimed poet Robin Robertson (Forward Prize, Man Booker shortlist 2018), has reinvigorated Euripides' devastating take of a god's revenge for contemporary readers, bringing the ancient verse to fervid, brutal life. Dionysus, god of wine and ecstasy, has come to Thebes, and the women are streaming out of the city to worship him on the mountain, drinking and dancing in wild frenzy. The king, Pentheus, denouces this so-called 'god' as a charlatan. But no mortal can deny a god and no man can ever stand against Dionysus. 'The dialogue is taut, volcanic and often exquisitely beautiful... Euripides deserves to have his exquisite verse transformed into modern speech, and in Robertson I believe he has found a poet who can do that.' Edith Hall, Literary Review

Robin Robertson's fourth collection is, if anything, an even more intense, moving, bleakly lyrical, and at times shocking book than Swithering, winner of the Forward Prize. These poems are written with the authority of classical myth, yet sound utterly contemporary: the poet's gaze -- whether on the natural world or the details of his own life -- is unflinching and clear, its utter seriousness leavened by a wry, dry and disarming humour. Alongside fine translations from Neruda and Montale and dynamic (and at times horrific) retellings of stories from Ovid, the poems in The Wrecking Light pitch the power and wonder of nature against the frailty and failure of the human. Ghosts sift through these poems -- certainties become volatile, the simplest situations thicken with strangeness and threat -- all of them haunted by the pressure and presence of the primitive world against our own, and the kind of dream-like intensity of description that has become Robertson's trademark. This is a book of considerable grandeur and sweep which confirms Robertson as one of the most arresting and powerful poets at work today. 'Robin Robertson continues to explore the bleak, beautiful territory that he has made his own. His stripped-bare lyricism, haunted by echoes of folksong, is as unforgiving as the weather and poems such as 'At Roane Head' show him writing at the height of his considerable powers' The Times

WINNER OF THE 2006 FORWARD PRIZE In Scots, the verb 'swither' has two meanings: to be doubtful, to waver, to be in two minds; and to appear in shifting forms - indeterminate and volatile. From disarmingly direct poems about the end of childhood to erotically charged lyrics about the ends of desire, Robertson's powerful third collection is stalked and haunted by both senses. Hard-edged, pitch-perfect, effortlessly various, Swithering is a book of brave and black romance, locating its voice in that space where great change is an ever-present possibility. Swithering has just won the Forward Prize for Best Collection and is also shortlisted for this year's T.S. Eliot Prize.

Twenty-five hundred years ago, Pythagoras taught that the simple counting numbers are the basic building blocks of reality. A century and a half later, Plato argued that the world we live in is but a poor copy of the world of ideas. Neither realized that their numbers and ideas might also be the most basic components of the human psych: archetypes. This book traces the modern evolution of this idea from the Renaissance to the 20th century, leading up to the archetypal hypothesis of psychologist C. G. Jung, and the mirroring of mathematical ideas of Kurt Gödel.