Three CTHULHU novellas, by today's leading horror writers, set throughout the twentieth century. One Nameless Thing by Alison Littlewood, set in the Maldives in the present day. The Gamekeeper by Johnny Mains set in Scotland in the 1940s & 1970s. Not To Touch The Earth by Thana Niveau set in San Francisco in 1967.

This superb collection of stories by some of today's finest genre writers are each set along Britain's northern coast -- Whitby, Scarborough and other traditional English seaside resorts -- where tales both grim and delicious are forged.

Four new brand-new full-cast Blake's 7adventures set during the TV series' third season, following directly on from events in the Crossfire trilogy.1.Damage Control by Trevor Baxendale. Damaged beyond repair, the Liberator is hurtling out of control. With Zen down, Avon injured and Tarrant losing his mind, what can the crew hope to achieve in the time they have left? 2.The Hunted by Iain McLaughlin. In a stolen ship, Avon and Vila try to hold off a fleet led by the President of the Federation, buying time forDayna, Tarrant and Cally to scavenge parts to save the Liberator. 3.Figurehead by Scott Harrison. With the Liberator crippled and vulnerable, Tarrant and Cally are given just twenty-four hours to end the violence on Gamma Vynos II or kill the person responsible – Avalon. 4. Abandon Ship by Steve Lyons. The Liberator is falling apart. Its life support systems are failing. The ship can no longer sustain five crewmembers. But who will stay and who will leave? Both options seem equally deadly. CAST: Paul Darrow (Kerr Avon), Michael Keating (Vila Restal), Jan Chappell (Cally), Steven Pacey (Del Tarrant), Yasmin Bannerman (Dayna Mellanby), Alistair Lock (Zen/Orac), Rebecca Crankshaw (Zeera Vos), Hugh Fraser (The Old President), John Green (Mordekain), Harriet Collings (Kestra), Jonathan Christine (Jaryss Vull), Olivia Poulet (Avalon), Ian Brooker (Ozaban). Other parts played by members of the cast.

This volume draws together leading researchers and practitioners in voice pedagogy in Australia. The collection is designed to be an ongoing resource for singing teachers, and the publication is aligned with the Australian National Association of Teachers of Singing. The book serves as a snapshot of work in the field, and encompasses voice science, studio pedagogy and the role of the performer-teacher. It transcends genre boundaries and includes chapters on opera, music theatre, choral music, jazz, worship singing and cabaret.

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