An anthology of poetry and prose by Ian D. Hall. Four in the morning, pavement blues, a single small, hurried cigar becomes a second... Four in the morning is the time I am awake; it is the best time to listen to and write the blues.
Liverpool has always nurtured distinctive voices in its poetry, music, and art. In this collection, Ian Hall - poet, performer, reviewer of film, theatre, and music, founder of 'Liverpool Sound and Vision', graduate of English, and all-round local legend - sounds his voice with distinction, joining it to the city's resounding chorus of talents. Black Book moves us from the Armitage-like wit of 'One Day in Crewe' to the dark protest of 'Who's to Blame'; from Crosby beach in 'The Seagull versus the Iron Men' to the American, Bourbon-scented whirl of 'Kerouac Dreams'. The versatility and range of these poems will take you and shake you, shifting from sonnet to free verse and back again, and from the poet's profound love for a Morris Minor to the deep myths of Eve and the Devil, Echo and Narcissus. To borrow a telling line, each poem is a 'sculpture of passionate sentiment : delicate yet enduring, often poignant yet also ruggedly tough.' Read on. Enjoy. May the music of this poetry fill you, every note. Dr Michael Davies, University of Liverpool Ian puts all the write words in the right places to produce profound poems. John Gorman Words build emotional bridges and skyscrapers. Poet Ian D. Hall uses the tools of his trade to convey past and future experiences. He has a solid foundation of work to build upon. A distinctive, sensitive voice using light, shade and colour to maximum effect. Peter Grant
An anthology of poetry and prose by Ian D. Hall. Four in the morning, pavement blues, a single small, hurried cigar becomes a second... There is something beautifully seductive that lives in the shadows of the early morning. Many never see the time after the witching hour has bid its farewells with a mournful sigh or even the jubilant laugh as the public houses and restaurants close their doors, weary of yet another late-night meal cooked and extra pint soon to be spilled. It is, though, a time I enjoy: the stillness of the night, perhaps a breeze, the recognition of life in between the heartbeats of midnight and the dawn. Four in the Morning, Pavement Blues is a recognition of time, the understanding that outside of our own lives and the deep pursuit of rest that nighttime affords, the world still carries on. Lives are being lived, the light from someone's living room still shines, a lullaby is soothing a child as its parents tackle their own questions of mortality, and on the other side of the world, it is time to play, to be merry and conscious of the evening ahead. Four in the morning is the time I am awake; it is the best time to listen to and write the blues. Ian D. Hall 2018
Set on Malta and written partly as a homage to the beat generation writers, The Death of Poetry is a taut psychological exploration of relationships and situations that entwine the characters we observe through the narration. Opening with a seemingly unsuspicious death at a facility for ‘the unhinged’, our island detective at first feels it is just a circumstantial accident; after all, many inside are damaged and alone, having dealt with their addictions and afflictions. It is when a fresh victim appears, most definitely murdered, that he begins to unravel the fragile links and faint memories of those he now must confront from his own past—one he may not have wanted to remember for himself.
Liverpool has always nurtured distinctive voices in its poetry, music, and art. In this collection, Ian Hall - poet, performer, reviewer of film, theatre, and music, founder of 'Liverpool Sound and Vision', graduate of English, and all-round local legend - sounds his voice with distinction, joining it to the city's resounding chorus of talents. Black Book moves us from the Armitage-like wit of 'One Day in Crewe' to the dark protest of 'Who's to Blame'; from Crosby beach in 'The Seagull versus the Iron Men' to the American, Bourbon-scented whirl of 'Kerouac Dreams'. The versatility and range of these poems will take you and shake you, shifting from sonnet to free verse and back again, and from the poet's profound love for a Morris Minor to the deep myths of Eve and the Devil, Echo and Narcissus. To borrow a telling line, each poem is a 'sculpture of passionate sentiment : delicate yet enduring, often poignant yet also ruggedly tough.' Read on. Enjoy. May the music of this poetry fill you, every note. Dr Michael Davies, University of Liverpool Ian puts all the write words in the right places to produce profound poems. John Gorman Words build emotional bridges and skyscrapers. Poet Ian D. Hall uses the tools of his trade to convey past and future experiences. He has a solid foundation of work to build upon. A distinctive, sensitive voice using light, shade and colour to maximum effect. Peter Grant
An anthology of poetry and prose by Ian D. Hall. Adanac A dream world, a land of mischief, of stories too numerous to entreat completely upon anyone. A place where an armchair becomes a throne and where a man becomes a King, staring out over the past, telling his young page the secrets he is too inherit, a young boy who found Adanac intoxicating and every once supposed every tall tale to be true. Tales from The Adanac House is a mixture of light and dark, an assortment of pictures that paint very personal and emotive journeys of a person who has experienced much, and has needed to throw the words out on page as only an artist can do. Poetry should leave you feeling a little exhausted, as if you have been on a journey and Ian D. Hall does exactly that. Janey Phillips
A decade has passed since the events that took the lives of many in Downmere, a small village in the heart of the New Forest. Those who survived have tried to forget what lurked in the cracks, in the fissures of the walls and in dark burrows beneath the ground – the calculating minds in search of food. But Bela never forgot. When it comes to her attention that the creatures have resurfaced, she must once more take up the fight to make locals and authorities alike heed her warning. As it was ten years ago in Downmere, the people of Avoncross go about their business as usual, unaware of the danger marching towards them. No longer content to remain Underneath, the creatures emerge into the light of day, their single-minded objective clear: a new food source, a new home. Avoncross is where they will gather, for this is now their Colony.
“Never talk in front of Dylan Thomas,” they said as they consumed their pints and spoke of their woes and tribulations, and of the weird relative coming to stay awhile, “for the Welsh Bard will somehow weave his mercurial magic for others to consume, just as he consumes life with heart, spirit and desire flowing through him.” I have very little in common with Dylan Thomas, except for a once fondness for whisky, a love of poetry—of which he is one of the masters of the twentieth century, alongside Allen Ginsberg, W.H. Auden, Maya Angelou, Adrienne Rich and Liverpool’s very own Roger McGough—and that we both at one time performed our work in New York. It is, however, to Dylan Thomas that Writing Out of Earshot is dedicated, along with Ginsberg. The book of poetry you hold in your hand is a response to my long-lasting adoration of these two men. Writing Out of Earshot is also a confirmation that writing, for me at least, encompasses several aspects of life, of struggling with illness and the feeling of being invisible in a crowd, when people will say anything in front of you because they cannot see you. The life of a poet is not all drinks at The White Horse Hotel surrounded by hundreds of people; it is one that captures a moment when you are hidden away in your room, remembering, recalling certain words and worlds and transforming them as you give birth to the next poem. “Do not go gentle into that good night,” for the moon outside your window is full, and the passing months have yet to tell their story. Ian D. Hall, 2021
Underneath, not on the surface. That’s where the truth of our existence lies, sometimes buried under years of punishment, suffocating, choking on the dirt we have carried with us so deep in our soul where no one will ever find it. Sometimes it scratches, clawing at the thin veneer of the respectable face we present to the world, hoping to pierce, to pop the bloated façade of all we refuse to acknowledge we have done. Underneath the skin lies the dirt we have on ourselves. We hide it from the investigations of others while knowing that if we were to slice the surface and let the dirt run free, we would be liberated from this human prison in which we are securely kept… Underneath.
Improving Professional Learning through In-House Inquiry shows how to identify the Continuous Professional Development (CPD) needs of an individual or team and then to meet those needs through carrying out specific inquiry within the organisation. Middlewood and Abbott demonstrate how the most effective professional learning occurs when the the needs of an organisation are identified at all levels and provide clear support for following this approach. The authors also show that effective student involvement is key because it clearly links CPD with the ultimate aim: to meet students' learning needs. Examples of how this has been achieved successfully in schools and colleges are drawn on throughout, showcasing a variety of settings in various countries. Four extended case studies from different types of educational institutions are provided to illustrate learning journeys.
Where do people go when they leave your side? You might think of them occasionally, remember words spoken under the cover of friendship, but once lost, once they leave you in the darkness, all that remains is a whispered memory slowly fading in time. The island of Malta and the unnamed detective returns, still haunted by the death of his friend, the havoc caused by the sinister drug smuggler, his own fall from grace and the slow rebuilding and reform of his life. Into that life falls a man to whom time has also not been kind, his existence in turmoil when he makes a connection with the past that someone would rather he had forgotten. Accused of murder, the man’s only hope is the detective in a case that has roots in the USA, England and France, and for which the citizens of Malta could pay the ultimate price.
Argon isotopic dating is one of the most important techniques for estimating the ages of rocks and can be used on very small samples. It has been used to assign reliable ages to the Earth and numerous meteorites. This second edition covers the standard principles and methods and incorporates many of new developments from the last decade. It covers the basis of the method, technical aspects, data presentation, diffusion theory, thermochronology, and many applications and case studies.
This first volume of a remarkable four-volume set on the birds of British Columbia covers eight-six species of nonpasserines, from loons through to waterfowl. Detailed species accounts provide unprecedented coverage of these birds, presenting a wealth of information on the ornithological history, habitat, breeding habits, migratory movements, seasonality, and distribution patterns. Introductory chapters look at the province’s ornithological history, its environment and the methodology used in the volumes.
Using a question-and-answer format, describes the importance of plants as a natural resource, discusses their many uses, and tells why it is important to protect some types of plants.
This book gives a complete guide to carrying out and completing a project or dissertation which has a leadership or management focus. It is written in accessible, jargon-free language and provides practical advice in all the relevant areas of research and its reporting. The authors provide case examples of students′ work from a range of contexts. They give guidance on what pitfalls to avoid, and show clearly how to structure the project, write a literature review, present personal research findings, as well as how to understand different kinds of research, assessment, and maximising tutorial support. The book is essential for Masters′ students - and their tutors - in fields such as education or business studies, giving a clear step-by-step approach to doing the fieldwork and writing up the outcomes, including how to make conclusions and recommendations. It provides a comprehensive resource to ensure success in leadership and management projects and dissertations. DAVID MIDDLEWOOD is a part-time Research Fellow at The University of Warwick, UK, having previously worked for the Universities of Leicester and Lincoln. IAN ABBOTT is an associate professor at the University of Warwick, UK. He is currently the director of external relations at the Institute of Education at the University.
Central to any reappraisal of Southey’s mid to late career, is 'Roderick'. This best-selling epic romance has not been republished since 1838 and is contextualised here within Southey’s wider oeuvre. The four-volume edition also benefits from a general introduction, volume introductions, textual variants, endnotes and a consolidated index.
An examination of the treatment of common land in the work of English painters, at a time when much of it was to disappear forever. A most elegantly written book that calmly knocked many entrenched but erroneous notions about British landscape painting firmly on the head. Longlisted and commended by the judges of the 2013 William M. B. Berger prize forBritish art history. During the eighteenth and nineteenth centuries, much of England's common land was eradicated by the processes of parliamentary enclosure. However, despite the fact that the landscape was frequentlyviewed as unproductive, outmoded and unsightly, many British landscape painters of the time - including Constable, Gainsborough and Turner - resolutely continued to depict it. This book is the first full study of how they did so, using evidence drawn not only from art-historical picture analysis, but from contemporary poems and novels, and the contemporary pamphlets, essays and reports that advanced the rhetoric of both agricultural improvement and new theories on landscape aesthetics. It highlights a deep-rooted social and cultural attachment to the common field landscape, and demonstrates that common land played a significant but - until now - underestimated role in both the history of English art and of the formation of an English national identity, reflecting what are still highly sensitive issues of progress, nostalgia and loss within the English countryside. Recasting common land as a recurrentfacet of English culture in the modern period, the numerous paintings, drawings and prints featured in this book give the reader a comprehensive and evocative sense of what this now almost wholly lost landscape looked like in itshey-day. Ian Waites is Senior Lecturer in History of Art and Design at the University of Lincoln.
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