For fly-fishermen everywhere, the news of an upcoming book from Tom Sutcliffe is as exciting as a ten-pound wild rainbow on a 4X tippet… Yet More Sweet Days certainly lives up to the weight of expectation from his many fans, locally and internationally.

It races upstream in leaps and bounds, taking you to places you’ve always wanted to fish: you’ll wade the high mountain rivers of the Eastern Cape, clamber along the boulder-strewn crystal streams of the Western Cape, throw a dainty dry on hallowed English chalkstreams, and fight fresh-run salmon in rugged Iceland with a volcano belching ash behind your casting shoulder.

You’ll pick up tips and ideas (almost without realising it) from a master trout fisherman who has done more for the beautiful sport in South Africa than anyone, ever. Along the way you’ll soak yourself warmly in a philosophy that embraces fish and birds, people and animals – a philosophy honed by thousands of kilometres of stalking up streams and countless cups of coffee brewed on a stove perched on the tailgate of his fishing truck.

Complemented by many original artworks from the author, this beautiful book is at once a rumination, a reflection and a profound escape for fly fishermen everywhere; when you’re not actually casting at trout, this is the next best thing. [credit: Paul Curtis]

The staging of opera has become immensely controversial over the last twenty years. Tom Sutcliffe here offers an engaging and far-reaching book about opera performance and interpretation. This work is a unique tribute to the most distinctive and adventurous achievements in the theatrical interpretation of opera as it has developed in recent decades. Readers will find descriptions of the most original and successful avant-garde opera productions in Britain, Europe, and America. Sutcliffe beautifully illustrates how updating, transposition, or relocation, and a variety of unexpected imagery in opera, have qualified and adjusted our perception of the content and intention of established masterpieces.

"Believing in Opera" describes in detail the seminal opera productions of the last fifty years, starting with Peter Brook in London after the war, and continuing with the work of such directors and producers as Patrice Chereau in Bayreuth, Peter Sellars and David Alden in America, Ruth Berghaus in Frankfurt, and such British directors as Richard Jones, Graham Vick, Peter Hall, and David Pountney. Through his descriptions of these works, Sutcliffe states that theatrical opera has been enormously influenced by the editing style, imagery, and metaphor commonplace in the cinema and pop videos. The evolution of the performing arts depends upon revitalization and defamiliarization, he asserts. The issue is no longer naturalism, but the liberation of the audience's imagination powered by the music.

Sutcliffe, an opera critic for many years, argues that opera is theater plus music of the highest expressive quality, and as a result he has often sided with unconventional and novel theatrical interpretations. He believes that there is more to opera than meets the ear, and his aim is to further the process of understanding and interpretation of these important opera productions. No other book has attempted this kind of monumental survey.

Originally published in 1997.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905."

The staging of opera has become immensely controversial over the last twenty years. Tom Sutcliffe here offers an engaging and far-reaching book about opera performance and interpretation. This work is a unique tribute to the most distinctive and adventurous achievements in the theatrical interpretation of opera as it has developed in recent decades. Readers will find descriptions of the most original and successful avant-garde opera productions in Britain, Europe, and America. Sutcliffe beautifully illustrates how updating, transposition, or relocation, and a variety of unexpected imagery in opera, have qualified and adjusted our perception of the content and intention of established masterpieces. Believing in Opera describes in detail the seminal opera productions of the last fifty years, starting with Peter Brook in London after the war, and continuing with the work of such directors and producers as Patrice Chereau in Bayreuth, Peter Sellars and David Alden in America, Ruth Berghaus in Frankfurt, and such British directors as Richard Jones, Graham Vick, Peter Hall, and David Pountney. Through his descriptions of these works, Sutcliffe states that theatrical opera has been enormously influenced by the editing style, imagery, and metaphor commonplace in the cinema and pop videos. The evolution of the performing arts depends upon revitalization and defamiliarization, he asserts. The issue is no longer naturalism, but the liberation of the audience's imagination powered by the music. Sutcliffe, an opera critic for many years, argues that opera is theater plus music of the highest expressive quality, and as a result he has often sided with unconventional and novel theatrical interpretations. He believes that there is more to opera than meets the ear, and his aim is to further the process of understanding and interpretation of these important opera productions. No other book has attempted this kind of monumental survey. Originally published in 1997. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Written like a newspaper article, Why Evolution is a Fraud: A Secular and Common-Sense Deconstruction exposes the shocking racism and blatant distortions of this pseudo-scientific, atheistic philosophy. Regardless of your background in science (or lack thereof), Why Evolution is a Fraud is easy to understand, decisive and engrossing. What makes Why Evolution is a Fraud unique is that it breaks the tired old stalemate of 'religion versus science' by using scientific facts and common sense to annihilate evolution. Definitive and heavily researched Why Evolution is a Fraud shows why the theory of evolution is mathematically and genetically impossible. The book also shows how such a weak, wannabe-science has survived in spite of mountains of evidence to the contrary. Readers who liked Treason by Ann Coulter, Blink & The Tipping Point by Malcolm Gladwell will enjoy Why Evolution is a Fraud.

Tracing the development of "radical" opera production from the innovations of Peter Brook in the 1950s to leading contemporary figures such as Peter Sellars, David Freeman and Jonathan Miller, this work also discusses the challenge of opera as a genre. It addresses the important question facing opera today, of whether it is to be the preserve of hugely-paid stars or a vehicle for genuine innovation and challenge.