Wherever you go, there you are. A run away from Britains Care system, Maya More now paints in a remote region of the Indian Himalayas. Surrounded by spirit-worshipping farmers and emerald green mountains, all would be bliss if she could only sell her art. But with little market for her male nudes shes forced to commute to Manali, the nearest tourist town, and work as a part-time guide. Offered a handsome payment to help organize a marriage proposal on the roof of the world, Maya spends days with a charismatic film-maker only to find that shes falling in love with him herself. Determined to be professional, she orchestrates the couples perfect moment yet despite her meticulous planning the event spawns disaster forcing her to confront both the mountains dark underbelly and her own tangled past. A mystery; a love story; a tale of self transformation: Black Sheep International is a rollicking romp of a read set amidst the bizarrely beautiful culture of The Valley of The Gods.

Once hailed by John Osborne as 'the greatest actor since Brando', latterly known as a ruined genius whose unpredictable, hellraising behaviour was legendary, Nicol Williamson always went his own way. Openly dismissive of 'technical' actors, or others who played The Bard as if 'their finger was up their arse', Williamson tore up the rule book to deliver a fast-talking canon of Shakespearean heroes, with portrayals marked by gut-wrenching passion. According to one co-star, Williamson was like a tornado on stage – 'he felt he was paddling for his life'. Fiercely uncompromising, choosy about the roles he accepted, contemptuous of the 'suits' who made money from artists, and a perfectionist who never accepted second best from himself or others, Nicol sometimes alienated those around him. But even his detractors still acknowledge his brilliance. After an extraordinary career on both stage and screen, Williamson was burnt out as an actor by the age of 60. Yet, as Gabriel Hershman explains in this authorised biography, a premature end was perhaps inevitable for an actor who always went the extra mile in every performance.

Adventure guide Roe Hunter has enough adventure for a life time. To escape the jet-set crises of his famous mothers' scandal-ridden life, Hunter retreats to the family villa on the Mediterranean island of Sontara. But when he settles in, he ends up babysitting notorious rock star Gingie-whose sensuality, glamour and penchant for trouble give no allusion to the fact that she's a virgin. A condition, Roe discovers, may only be temporary.

Black ≠ Inferior is a collection of poems divided into 2 parts. The first part is a collection of thematically linked poems exploring Blackness and the myriads of issues it attracts. The second part oscillates themes— talking about consent, a query of death, a celebration of love among others. In his usual stylistic, this collection deals with weighty matters like race and colourism with simple and clear language. In Black ≠ Inferior, we see Tolu’ Akinyemi reacting in response to the world, to issues that affect Black people. Here, we see a poet shedding off his burdens through his poems; hence, the beauty of this collection is in the issues it attempts to address. In this collection, Tolu’ wears a coat of many colours – he is a preacher, a prophet, a doctor and a teacher. We see Tolu’ the preacher in these lines: ‘I wish you can rise through the squalor of poverty and voices that watercolour you as under-represented. I wish you can emblaze your name in gold, and swim against every wave of hate.’ This is a collection of poems fit for the present narrative as any (Black) person who reads this collection should beam with confidence at the end. This is what the poet sets out to achieve with his oeuvre.

For babies to develop normally, they must be touched. Adults, too, thrive when touch is a normal part of their each day: a reassuring handshake, a sympathetic hug, a healing massage. But how often do we permit ourselves or others these simple forms of contact: physical touch, our emotional presence, spiritual communion? We need to get more in touch--closer to who we really are as a species, and in ways that support our highest human potential. Touching can be communication, friendship, kindness, service, or love for God. Topics include: * The highest human need * The roots of violence and abuse. * Acquisitions: a substitute for touch * Healing through touch. * A healthy model of sexuality. * Touch as a context for our lives. Foreword by Ashley Montagu.