This writing consists of the inside story on hunting and fishing as it really happens. As a writer of how to articles in outdoors magazines, I always felt they never told the whole story. Planning for success is important, and taking a trophy animal or a big fish is rewarding and fun. I can remember lying in the hospital with not much hope of ever being in the outdoors again, with cancer. As I thought of my outdoors experiences I found that the real pleasure in the outdoors were the memories of family and friends, and all the adventures along the way, the funny mistakes and just watching everyone have fun. Of course there were big bucks and large fish on these outings too. Many people make hunting and fishing a job, and miss the real reason for being out in nature, enjoyment Just participating by laughing and living the moment no matter what, is the key. So sit back and relax, kick your shoes off, and travel memory lane with me. Prepare to at least smile or even laugh for then you will be as happy as me, hunting and fishing now cancer free.

A novelist, poet, literary critic and anthropologist, Andrew Lang is best known for his publications on folklore, mythology and religion; many have grown up with the 'colour' Fairy Books which he compiled between 1889 and 1910. This three volume set presents a selection of his work in these areas. The first volume covers the general and theoretical aspects of Lang's work on folklore, mythology and anthropology along with the tools and concepts which he used in his often combative contributions to these inter-related disciplines. Collectively, the General Introduction to the set and the Introductions to the individual volumes offer a thorough overview of Lang's work in an astonishing variety of fields, including his translation work on Homer and his contributions to historiography (particularly Scottish). Headnotes to the individual items are of varying length and provide more detail on specific topics, and explanatory notes supply unique intellectual comment rather than merely factual information.

A novelist, poet, literary critic and anthropologist, Andrew Lang is best known for his publications on folklore, mythology and religion; many have grown up with the 'colour' Fairy Books which he compiled between 1889 and 1910. This three volume set presents a selection of his work in these areas. As a companion to the first volume, the second is comprised of various case studies made by Lang, ranging from 'The Aryan Races of Peru' and 'The Folk-lore of France' to 'Irish Fairies' and 'The Ballads, Scottish and English'. Collectively, the General Introduction to the set and the Introductions to the individual volumes offer a thorough overview of Lang's work in an astonishing variety of fields, including his translation work on Homer and his contributions to historiography (particularly Scottish). Headnotes to the individual items are of varying length and provide more detail on specific topics, and explanatory notes supply unique intellectual comment rather than merely factual information.

A novelist, poet, literary critic and anthropologist, Andrew Lang is best known for his publications on folklore, mythology and religion; many have grown up with the 'colour' Fairy Books which he compiled between 1889 and 1910. This three volume set presents a selection of his work in these areas. The third volume arranges his literary criticism, first by geo-cultural context and then chronologically. It begins with Lang's views on the nature and purpose of fiction, then presents samples of his work on some of the most important authors in the respective canons of French, American, Scottish and English literature including Victor Hugo, Edgar Allan Poe, Robert Burns and Charles Dickens among many others, mainly of the nineteenth century. Collectively, the General Introduction to the set and the Introductions to the individual volumes offer a thorough overview of Lang's work in an astonishing variety of fields, including his translation work on Homer and his contributions to historiography (particularly Scottish). The Introduction to Volume III sets Lang within the context of the literature of his times, comparing and contrasting him with significant contemporaries. Headnotes to the individual items are of varying length and provide more detail on specific topics, and explanatory notes supply unique intellectual comment rather than merely factual information.

A novelist, poet, literary critic and anthropologist, Andrew Lang is best known for his publications on folklore, mythology and religion; many have grown up with the 'colour' Fairy Books which he compiled between 1889 and 1910. This three volume set presents a selection of his work in these areas. The first volume covers the general and theoretical aspects of Lang's work on folklore, mythology and anthropology along with the tools and concepts which he used in his often combative contributions to these inter-related disciplines. As a companion to the first volume, the second is comprised of various case studies made by Lang, ranging from 'The Aryan Races of Peru' and 'The Folk-lore of France' to 'Irish Fairies' and 'The Ballads, Scottish and English'. The third volume arranges his literary criticism, first by geo-cultural context and then chronologically. It begins with Lang's views on the nature and purpose of fiction, then presents samples of his work on some of the most important authors in the respective canons of French, American, Scottish and English literature including Victor Hugo, Edgar Allan Poe, Robert Burns and Charles Dickens among many others, mainly of the nineteenth century. Collectively, the General Introduction to the set and the Introductions to the individual volumes offer a thorough overview of Lang's work in an astonishing variety of fields, including his translation work on Homer and his contributions to historiography (particularly Scottish). The Introduction to Volume III sets Lang within the context of the literature of his times, comparing and contrasting him with significant contemporaries. Headnotes to the individual items are of varying length and provide more detail on specific topics, and explanatory notes supply unique intellectual comment rather than merely factual information.

This volume presents documents that roughly follow the chronology of Joseph Conrad's life and deliberately considers two documents that reveal surprising and important facts that Conrad had carefully concealed.

This book looks at Rider Haggard from a different standpoint, his own. It carries a selection of critical appraisals of Haggard's work by his contemporaries up until the early 1950s.

This book is a collection of biographical records portraying the life of Rudyard Kipling, drawn from official biographies, memoirs, testimonies, letters, diaries, conversations, anecdotes, essays, and reviews.

In their own time, Lewis Carroll, Robert Louis Stevenson and Algernon Charles Swinburne were highly successful writers. Part of the "Lives of Victorian Literary Figures" series, this three-volume facsimile edition draws together a range of biographical sources relating to these three celebrated Victorian authors.

In their own time, Lewis Carroll, Robert Louis Stevenson and Algernon Charles Swinburne were highly successful writers. Part of the "Lives of Victorian Literary Figures" series, this three-volume facsimile edition draws together a range of biographical sources relating to these three celebrated Victorian authors.

In their own time, Lewis Carroll, Robert Louis Stevenson and Algernon Charles Swinburne were highly successful writers. Part of the "Lives of Victorian Literary Figures" series, this three-volume facsimile edition draws together a range of biographical sources relating to these three celebrated Victorian authors.

`The Flechitorium presents an enormous range of subject matters, forms, styles and language but all of them are lynch-pinned by the author's deep and sometimes ambivalent relationship with his native Fife ... But what is a "Flechitorium"? You'll have to read the poem therein to find out, dear reader, but be careful - this is a collection with a real bite to it. `On the bill in this particular Flechitorium are a fistful of narrative ballads, historical and humorous to get us off to a flier. Then the mood changes and becomes more reflective and sombre ... That old Scottish literary tradi on of flyting is resumed and developed in the contretemps between the allegorical squirrel and the peacock in Dunfermline Glen .... And as a bonus, the gathering of braw poems is enhanced by a sulfurous tale to conclude - though one more RLS than Hammer House of Horror. `The Flechitorium is a delicious Fife broth or even Langtoun bouillabaisse ... with its many hints and references to other literary cuisines beyond Fife and Scotland. At mes it is funny, at others serious, it is always humane in its span of concerns from bawdy to spiritual yet the poems are crafted to address and engage intellectually as well as emotionally. Whether supped with short or lang spuin it will satisfy all tastes.' From the Preface by William Hershaw

About Mario Relich poetry: 'There is nothing provincial about the poems in Mario Relich collection. Local at times, yes, with evocations of the poet's various home bases, but as the likes of William Carlos Williams and Patrick Kavanagh would remind us, the local is the universal. ( - ) This poet is of both the Old World and the New, intensely European in his range of cultural references, but also transatlantic, whether evoking family and university life in Montreal or verbally transcribing, as it were, a postcard depicting the Civil War memorial in Hartford, Connecticut, and linking this with that city's poet Wallace Stevens, himself redolent of European imagination and American experience. ( - ) It's chiefly in the poems about birds - one type, of course, is the source of the book's title - that we witness, in Muriel Spark's phrase, 'the transfiguration of the commonplace'. (from Tom Hubbard's Introduction)

A vulnerable and bullied boy vanishes from a boarding-school in an austerely beautiful part of the Scottish county of Fife. A young nurse from the American South encounters love - and culture-clash - at the school. Her beau, a teacher and former army officer, is a tense and troubled man. A precocious young aesthete stumbles towards maturity. A lecherous, alcoholic headmaster quotes Shakespeare at inopportune moments. Tragedy? Farce? Both? Offset by praise-poetry to Fife landscape and folk culture, Tom Hubbard's complex, sardonic tale scurries through unexpected corridors and caverns, up and down dubious stairs, its secret architecture reflecting the "Big Hoose" in which much of the action takes place -

A Belgian pagoda and a red Hungarian hedgehog; 12-year-old Hector Berlioz falls in love; a French tribute to Edgar (Allan) Poe; lakes in Germany and Italy, rivers in Switzerland; home thoughts from the Mediterranean; the bloody end of bonny Kate; the painters El Greco and Csontvary; variations on Dostoyevsky, Turgenev and Chekhov; Catullus celebrates erotic marriage; with much more. Tom Hubbard takes us on another poetic tour of Europe, offering a number of translations (or rather transcreations) on the way. Parapets and Labyrinths, a collection of poems mainly in English (but with a significant presence of the Scots language - glossary included), is a companion volume to The Chagall Winnocks, which was published by Grace Note Publications in 2011. The poet wears his learning lightly, more of a cultivated 'flaneur' than a stuffy academic - If there is anything labyrinthine about these poems, it is because the poet is no mere aficionado of the 'grand tour', but sharply observant, knowing there is nothing straightforward about Europe and its outlying archipelago of the British Isles, Ireland and Iceland - Darkness may be latent in many of the poems, but - the pleasure principle trumps everything else in the poetry of Tom Hubbard. NOTES FROM MARIO RELICH

This writing consists of the inside story on hunting and fishing as it really happens. As a writer of how to articles in outdoors magazines, I always felt they never told the whole story. Planning for success is important, and taking a trophy animal or a big fish is rewarding and fun. I can remember lying in the hospital with not much hope of ever being in the outdoors again, with cancer. As I thought of my outdoors experiences I found that the real pleasure in the outdoors were the memories of family and friends, and all the adventures along the way, the funny mistakes and just watching everyone have fun. Of course there were big bucks and large fish on these outings too. Many people make hunting and fishing a job, and miss the real reason for being out in nature, enjoyment Just participating by laughing and living the moment no matter what, is the key. So sit back and relax, kick your shoes off, and travel memory lane with me. Prepare to at least smile or even laugh for then you will be as happy as me, hunting and fishing now cancer free.

"The Chagall Winnocks with other Scots poems and ballads of Europe."

"From the forests of Finland to the plain of Lombardy, from a Scottish beach to a river island in Hungary, Tom Hubbard deploys the riches of the Scots language to explore that tragicomic space we call Europe. The poems are variously tender and mischievous in their reatment of our all-too-human foibles ..."

Hubbard believes that an international outlook and a parochial one (centred, in his case, on his native Fife) can be mutually enriching. The poems in "THE CHAGALL WINNOCKS" draw on the folklore of many European countries, not least that of Scotland - and indeed it is a retelling of a Fife legend, which opens this collection of poems, which have grown out of his travels in, and study of, the continent as a whole.

Many of these poems tell stories, in the form of ballads or the reworking of traditional tales; conversely, this collection of poems could be seen as a series of short stories, albeit in verse form.

Hubbard's new collection is a bold statement of faith in the Scots language, and echoes Hugh MacDiarmid's remarks on 'the unique blend of the lyrical and the ludicrous' which is possible in Scots, 'its Dostoevskian debris of ideas - an inexhaustible quarry of subtle and significant sound' ('A Theory of Scots Letters').