A 3,162 km race. A 48-year-old man. A 100-year-old bike. Made mostly of wood. That he built himself. Tim Moore sets off to recreate the most appalling bike race of all time. The notorious 1914 Giro d'Italia was an ordeal of 400-kilometre stages, cataclysmic night storms and relentless sabotage - all on a diet of raw eggs and red wine. Of the 81 who rolled out of Milan, only eight made it back. Committed to total authenticity, Tim acquires the ruined husk of a gearless, wooden-wheeled 1914 road bike with wine corks for brakes, some maps and an alarming period outfit topped off with a pair of blue-lensed welding goggles. From the Alps to the Adriatic the pair relive the bike race in all its misery and glory, on an adventure that is by turns bold, beautiful and recklessly incompetent.

'Bill Bryson on two wheels' Independent Scaling a new peak of rash over-ambition, Tim Moore tackles the 9,000km route of the old Iron Curtain on a tiny-wheeled, two-geared East German shopping bike. Asking for trouble and getting it, he sets off at the Arctic winter’s brutal height, bullying his plucky MIFA 900 through the endless and massively sub-zero desolation of snowbound Finland. Haunted throughout the journey by the border detritus of watchtowers and rusted razor wire, Moore reflects on the curdling of the Communist dream, and the memories of a Cold War generation reared on the fear of apocalypse – at a time of ratcheting East-West tension. After three months, 20 countries and a 58-degree jaunt up the centigrade scale, man and bike finally wobble up to a Black Sea beach in Bulgaria, older and wiser, but mainly older.

French Revolutions gives us a hilariously unforgettable account of Moore's attempt to conquer the Tour de France.

The agency of photographs is a recurrent concern within the context of the city. Whether found in architectural records, social documentary, photojournalism, or artistic practice, photographic objects are embedded in urban contestation, aesthetically charged by artists, reinserted into social histories, and mobilized to imagine a future city. Photogenic Montreal takes a question initially posed by heritage debates – what does photography preserve? – and creates a rich conversation about the agency of the human actors before and behind the camera, and of the medium itself. The interplay of archives and activisms structures the book. Photographs that appear to be sealed off in newspapers, storage rooms, or archives accrue new meaning when they cross the threshold back into social spaces and circulate anew. It is through the reactivation of archival photographs that submerged traces of urban experience are discovered, and alternate histories of Montreal can be recounted. Multiple forms of activism and artistic expression complement this archival work. Beginning in the 1960s, community-minded and heritage groups responded to the tensions arising from urban reconstruction, gentrification, and the erasure of neighbourhoods; this activism also left its photographic traces. Attentive to the still-changing face of the city’s architecture, neighbourhoods, and street life, Photogenic Montreal participates in debates about who the city belongs to, who speaks on its behalf, and how to picture its past and present.

Tim Moore completes his epic (and ill-advised) trilogy of cycling's Grand Tours. Julian Berrendero's victory in the 1941 Vuelta a Espana was an extraordinary exercise in sporting redemption: the Spanish cyclist had just spent 18 months in Franco's concentration camps, punishment for expressing Republican sympathies during the civil war. Seventy nine years later, perennially over-ambitious cyclo-adventurer Tim Moore developed a fascination with Berrendero's story, and having borrowed an old road bike with the great man's name plastered all over it, set off to retrace the 4,409km route of his 1941 triumph - in the midst of a global pandemic. What follows is a tale of brutal heat and lonely roads, of glory, humiliation, and then a bit more humiliation. Along the way Tim recounts the civil war's still-vivid tragedies, and finds the gregarious but impressively responsible locals torn between welcoming their nation's only foreign visitor, and bundling him and his filthy bike into a vat of antiviral gel.

Froome, Wiggins, Mercks—we know the winners of the Tour de France, but Lanterne Rouge tells the forgotten, often inspirational and occasionally absurd stories of the last-placed rider. We learn of stage winners and former yellow jerseys who tasted life at the other end of the bunch; the breakaway leader who stopped for a bottle of wine and then took a wrong turn; the doper whose drug cocktail accidentally slowed him down and the rider who was recognized as the most combative despite finishing at the back. Max Leonard flips the Tour de France on its head and examines what these stories tell us about ourselves, the 99% who don't win the trophy, and forces us to re-examine the meaning of success, failure and the very nature of sport.

Tim Moore - indefatigable travelling everyman – switches two wheels for four as he journeys across Trumpland in an original Model T Ford. ‘Alarmingly full of incident, very funny – even mildly transformative’ Daily Mail Lacking even the most basic mechanical knowhow, Tim Moore sets out to cross Trumpland USA in an original Model T Ford. Armed only with a fan belt made of cotton, wooden wheels and a trunkload of ‘wise-ass Limey liberal gumption’, his route takes him exclusively through Donald-voting counties, meeting the everyday folks who voted red along the way. He meets a people defined by extraordinary generosity, willing to shift heaven and earth to keep him on the road. And yet, this is clearly a nation in conflict with itself: citizens ‘tooling up’ in reaction to ever-increasing security fears; a healthcare system creaking to support sugar-loaded soda lovers; a disintegrating rust belt all but forgotten by the warring media and political classes. With his trademark blend of slapstick humour, affable insight and butt-clenching peril, Tim Moore invites us on an unforgettable road trip through America. Buckle up!