True Swamp: Stoneground and Hillbound is Jon Lewis' follow-up to 2000's True Swamp: Underwoods and Overtime, which was named as one of the Top Ten Comics of 2000 on TIME magazine's list of the Year's Best Comics. Like its predecessor, Stoneground and Hillbound is a hefty 64-pager teeming with swampy intrigues, mossy insights and earthy humor. Lenny the Frog, in search of a new job, journeys to the hidden grotto of a visionary sculptor who has mastered the medium of clay but not the medium of social interaction. Next to this creature, Lenny looks like the very picture of balance and sanity - can our frog handle working in such conditions? Meanwhile, we get a good look at Miln the Tortoise's work-in-progress: a cross-species study of the swamp's traditions of death and the afterlife. Her latest bit of research has her tracking down a crow-and-marsupial team who are rumored to have actually visited The City: impossible, of course, but then didn't Lenny the Frog claim the very same thing? Elsewhere, Cartucci, collector of human relics and unscrupulous eavesdropper, learns of the existence of the kind of treasure a collector could gladly give his tail for - unfortunately, it happens to be the central artifact of the swamp's largest and most fundamentalist religion: the church of Natural Science. True Swamp: Stoneground and Hillbound boasts sharp dialogue, beguiling wilderness settings, characters and societies at once strikingly strange and deeply familiar, and atmosphere you can sink into over your head. Of True Swamp: Underwoods and Overtime, Time.com said: "Simply drawn but deeply imaginative, True Swamp swallows up all those other anthropomorphic animal comics and leaves them behind in a stinking pile... this comic exudes a kind of joy and freedom in its seemingly loose, easy-going construction. And what a relief to see animals that are as likely to eat each other as they are to philosophize about the meaning of life."

The best of the True Swamp series collected for the first time.

In 1977, two extraodinary spacecraft called Voyager were launched to the stars. Affixed to each Voyager craft was a gold-coated copped phonograph record as a message to possible extra-terrestrial civilizations that might encounter the spacecraft in some distant space and time. Each record contained 118 photographs of our planet; almost 90 minutes of the world's greatest music; an evolutionary audio essay on "The Sounds of Earth"; and greetings in almost sixty human languages (and one whale language). This book is an account, written by those chiefly responsible for the contents of the Voyager Record, of why they did it, how they selected the repertoire, and precisely what the record contains.

"But as A Drink with Shane MacGowan shows, the inspiration for his artistry and beliefs is as varied as his range of mind - embracing Ireland, religion, his family, esoteric philosophy and history."--Jacket.

"I'd rather have one or two of his whiplashing essays in my hands than almost any tome of philosophy". -- Thomas Moore

Brook Benton was a magnificent singer who could handle anything from blues, jazz and soul to country, pop and standards. His version of Tony Joe White's 'Rainy Night in Georgia' -- an international smash in 1970 -- remains a timeless classic. The biography by Herwig Gradischnig is based on an album of newspaper cuttings personally compiled by Benton. These contain his views on a wide variety of topics, as well as reviews of his work. Personal interviews conducted in the USA with members of Brook's family have also been included. A significant portion of the text is dedicated to detailed discussion of his recordings and analysis of his distinctive vocal style. The exhaustive discography compiled by Hans Maitner identifies over 660 known recordings by Brook Benton. In this, it far surpasses all others published to date, which generally account for only around 300. The book also contains many rare photographs made available to the authors by the late singer's family. The entire work was authorised by Brook's widow, Mary, and daughter Vanessa, both of whom were keen to see it published.