Red Ken

Three tons of Saddam Hussein’s gold in an unguarded warehouse in Dubai... for two of Nick Stone’s closest ex-SAS comrades, it was to have been the perfect, victimless crime. But when they’re double-crossed and the robbery goes devastatingly wrong, only Stone can identify his friends’ killer and track him down. As one harrowing piece of the complex and sinister jigsaw slots into another, Stone’s quest for vengeance becomes a journey to the heart of a chilling conspiracy, to which he and the beautiful Russian investigative journalist with whom he has become ensnared unwittingly hold the key.

The first collection of plays from the multi-award-winning legendary screenwriter and playwright. Contains the plays RED, PETER AND ALICE and I’LL EAT YOU LAST. Contents: Introduction by Michael Grandage RED Under the watchful gaze of his young assistant and the threatening presence of a new generation of artists, Mark Rothko takes on his greatest challenge yet: to create a definitive work for an extraordinary setting. A moving and compelling account of one of the greatest artists of the 20th century whose struggle to accept his growing riches and praise became his ultimate undoing. Nominated for 7 Olivier Awards (2009) and winner of 6 Tony Awards (2010) including Best New Play. PETER AND ALICE When Alice Liddell Hargreaves met Peter Llewelyn Davies at the opening of a Lewis Carroll exhibition in 1932, the original Alice in Wonderland came face to face with the original Peter Pan. In John Logan’s remarkable play, enchantment and reality collide as this brief encounter lays bare the lives of these two extraordinary characters. I’LL EAT YOU LAST: A CHAT WITH SUE MENGERS 1981. Hollywood. Sue Mengers, the first female ‘superagent’ at a time when women talent agents of any kind are almost unheard of, invites you into her Beverly Hills home for an evening of dish, secrets, and all the inside showbiz stories that only Sue could tell... Back in the 1970s, Sue Mengers represented almost every major star in Hollywood; her clients were the talk of the town and her glamorous dinner parties were legendary. But by 1981 the glory days were fading. Her time was passing as a sleek and corporate New Hollywood began to emerge. The phone’s not ringing so much these days and Sue is forced to face the inevitable truth: the credits roll sooner than you think.

A cargo ship is apprehended by the authorities off the coast of Spain, packed with enough arms and ammunition to start a war. Twenty years later, an unknown aggressor seems intent on taking out those responsible for the treachery – one by one. The last victim was brutally tortured with a Black & Decker drill and then shot through the head at point-blank range. And Nick Stone – ex-SAS, tough, resourceful, ruthless, highly trained – is next on the killer’s list. He has only two options – fight or flight – but which do you choose when you don’t know who you are up against?

Prose, Photos and Poems This is a compendium of short stories, poems and memoirs, of a writer learning his craft. It is peppered with photographs as he is interested in the visual world. Poetry is important to his work as it makes you think and wring out everything you possibly can from a word, and to be able to manipulate the elements of the story. Madam Cliché is about the writer’s love of the sound of the word Cliché and his regret at its meaning and function. Places and travel are important to the writer. Places become characters in his writing. Dreamlands is about a visit he made to Margate and the Turner Gallery, it is modelled on The Waste Land by TS Elliot and was one of the pieces that got the writer a Certificate in Creative writing. Venice in the Rain is about a trip the writer made to Venice while researching for his Rialto Trilogy. He wrote stuff down as he walked through the landscape and it is just as much about memory as it is about the place. The photography was done on his camera that was inherited from his father who was a member of the Royal Photographic Society and has been to symposiums at Fox Talbot’s House and has replicated the smoking mirrors experiment. The writer believes that photography is about the pictures you don’t make. The writer likes to call this sort of work Moodalogues.

An analysis of American politics from the presidency of Johnson to the present is arranged in such themes as campaigns, the media, and wars, in a volume that draws on the author's work as a winner of the National Magazine Award for General Excellence to illuminate particular events in modern history. Reprint.

Design and build a hoophouse or polytunnel, and grow abundant produce year-round in any climate The Year-Round Hoophouse is the comprehensive guide to designing and building a hoophouse and making a success of growing abundant, delicious fresh produce all year, whatever your climate and land size. Chapters include: Hoophouse siting, size, style, frame construction, and tools Bed layout, soil, crop rotations, and extensive coverage of various crops for all seasons Organic solutions to pests and diseases Disaster preparation Tested resources for each chapter. The Year-Round Hoophouse is ideal for farmers who wish to move into protected growing, as well as beginning farmers in rural and urban spaces. It is an essential reference resource for professors and students of courses in sustainable agriculture, as well as interns and apprentices learning on the job. Growing in hoophouses – also known as high tunnels or polytunnels – reduces the impact of an increasingly unpredictable climate on crops, mitigates soil erosion, extends the growing season, keeps leafy greens alive through the winter, and enables growers to supply more regional food needs.

THIS ESSAY was begun a long time ago, in 1962, when I spent a year in Rome on a Guggenheim Fellowship. That twenty one years were required to complete it is owing both to the character of the theory presented and to my peculiar habits of mind. The theory presented is a coherence theory of knowledge: the con ception of coherence is here dominant and pervasive. But considera tions of coherence dictate an attention to details. The fact of the matter is that I get hung up on details: everything must fit, and if it does not, I do not want to proceed. A second difficulty was that all the epistemological issues seemed too clear. That may sound weird, but that's the way it is. I write philosophy to make things clear to myself. If, rightly or wrongly, I think I know the answer to a question, I can't bring myself to write it down. What happened, in this case, is that I finally became persuaded, in the course of lecturing on epistemology to under graduates, that not everything was as clear as it should be, that there were gaps in my presentation that were seriously in need of filling.