Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

William Carlos Williams' Collected Poems Volume I reissued as a Carcanet Classic. Described by Thom Gunn as `an ideal edition', this first volume of William Carlos Williams' Collected Poems is a vivid account of his formation as a poet, his time in Europe, and his interactions with the major players of Modernism (he never quite appreciated that he was one of them). The poems are printed in the order of original publication, starting with The Tempers (1913) and ending with Poems 1936-1939. Williams remains one of the most popular American poets of all time, Whitman's heir but with a voice wholly unlike Whitman's: provincial, particular, never quite settled. His material is the stuff of daily life, though he takes big risks of theme: `the urgent insurgent now' that he lives and celebrates becomes history; it can generate energy even from the past.

Laurence Olivier directs and stars in this classic adaptation of Shakespeare's play about the king who led England to victory in the Battle of Agincourt. The film pays tribute to its origins by opening in a version of the Globe Theatre in 17th century London, where Henry (Olivier) takes to the stage along with a variety of nobles to discuss his plans to stake a claim to the French throne. As the range of Henry's ambitions make themselves known, the theatrical artifice gives way to a more naturalised style and follows Henry as he sets sail from Southampton with his army. Inspired by Henry, the invading English hand the French several defeats, culminating in a triumph against far superior numbers at Agincourt. Shot during WWII, the film was designed to raise morale in the ongoing battle against Nazi Germany and earned Olivier an Academy Award for his 'outstanding achievement' in bringing the film to screen.

Five Bagatelles were written for Julian Bream and dedicated to Malcolm Arnold 'with admiration and affection for his 50th birthday'. They were given their first performance in Bath on 27th May 1972.