Showing results by narrator "Mitchley Richard" in All Categories

In this volume our authors explore the terrors of the mind rather than the horrors of reality, although with their pens the difference makes little difference. We twist this way and that as their talents shape our path towards endings of the nerve-shredding kind.

It’s September 1939 and Britain has just entered the Second World War. But in the small town of Golfodd there are no bombs, no soldiers and no machine guns. For Tom, Mary, Gary and Dil the whole thing is a disappointment. They want excitement. But they aren’t looking for trouble, so when they start shadowing the mysterious new woman in town, they don’t expect it to lead them down to the bottom of the old, rotten mines of Golfodd. Then things get dark and dangerous...

Kidnapped by the King of the Castle to make pixie soup, Titch and Mitch are in trouble again. Yet they still find time to free cuckoos from cuckoo clocks, save the crab queen’s crown and solve the mystery of Echo Quarry - all with a little help from their friends! The third fantastic 'Titch and Mitch' story from bestselling author Garth Edwards.

This collection of short stories contains several gothic tales featuring the macabre and chilling voices of writers as diverse as Edgar Allan Poe, Rudyard Kipling, Edith Nesbit, and MR James. These tales are designed to unsettle you, just a little, as you sit back and take in their words as they lead you on a walk to places you’d perhaps rather not visit on your own.

Between then and now poets have written verse, both serious and humorous, in attempts to keep a poetic track both of feelings and as a tribute to our four-legged friends and their adventures.

The question is asked by each of us, but the answer remains elusive. Dictionaries summon up many words, but none fulfill. Love itself is often ethereal, felt but only seen in a glance, a look, a fleeting touch. Part of love’s beauty is perhaps in the fact that the question never can be adequately answered; it's ephemeral, a chimera of the heart and only felt. Our own experiences are unique and personal to ourselves and of little help defining it for another.

In the Scottish canon, to be placed alongside Robert Burns is high praise indeed, but it’s a rightful place for one of Scotland’s finest novelists. Born in 1850, he managed to cram much into his 44 years, traveling widely to France, the United States, Samoa and the South Seas. Of course, he is widely feted for his classics: Dr Jeckyll & Mr Hyde, Treasure Island, and poetry volumes such as A Child’s Garden of Verses.

The human form is familiar to all of us. We like limbs connected to bodies. Writers of the dark and macabre are not too concerned if that remains the case. Indeed limbs, or rather pieces of the body, sometimes are best written about when not connected. It’s one of our greatest fears. It quite rightly riddles us with a very unsettling feeling. So why then do we turn the page? We’re about to find out.

Marguerite Radclyffe-Hall was born on August 12th, 1880 to wealthy parents who separated while she was still an infant. Her parents thereafter paid little attention to her. Hall was educated privately, and then at King’s College London. Later she travelled to Europe, settling in Dresden, Germany. With the death of her paternal grandfather she inherited a large estate and was then able to live as she pleased. In Germany, Hall met Mabel Batten and fell in love despite the 23 year age difference.

Poetry is often cited as our greatest use of words. The English language has well over a million of them and poets down the ages seem, at times, to make use of every single one. But often they use them in simple ways to describe anything and everything from landscapes to all aspects of the human condition. Poems can evoke within us an individual response that takes us by surprise, that opens our ears and eyes to very personal feelings.

Thought of as the first modern writer for children, Edith Nesbit also wrote for adults, producing more than 50 books in total. Like many consummate writers who yearn to be recognised as poets, her other works are given greater recognition. Now, in this volume, you be the judge. These poems are brought to your ears by Ghizela Rowe and Richard Mitchley.

M R James is widely regarded as THE master of the ghost story. His stories abound with spectres skulking in the shrubbery, in shadowy corners and dark recesses. 'The Mezzotint' is a whimsical and apparently supernatural tale of art on the move; a dying man devises a gruesome plan for testing his heirs in 'The Tractate Middoth', and something is lurking under the bedclothes in 'Rats'.

Here, in this volume history’s greatest poets convey thoughts, feelings and sentiments of love to you in quick (or bite-size) conversations of verse that can slip into your day and your partner's heart.

What is love? The question is asked by each of us, but the answer remains elusive. Dictionaries summon up many words, but none fulfill. Love itself is often ethereal, felt but only seen in a glance, a look, a fleeting touch. Part of love’s beauty is perhaps in the fact that the question never can be adequately answered; it's ephemeral, a chimera of the heart and only felt. Our own experiences are unique and personal to ourselves and of little help defining it for another. Love is perhaps best expressed through poetry.

The office of Poet Laureate goes back many centuries - informally to the time of Geoffrey Chaucer in 1389 and followed thereafter by a number of ‘volunteer laureates’. It was formally assigned to Ben Jonson in 1617 and, as a Royal office by letters patent in 1670, to John Dryden. It is a rich, rewarding history that bursts with the words, themes and visions of many great poets that has bound poetry and poets to a nation's soul.

Poetry is often cited as our greatest use of words. The English language has well over a million of them and poets down the ages seem, at times, to make use of every single one. But often they use them in simple ways to describe anything and everything from landscapes to all aspects of the human condition. Poems can evoke within us an individual response that takes us by surprise, that opens our ears and eyes to very personal feelings.

Poetry is often cited as our greatest use of words. The English language has well over a million of them and poets down the ages seem, at times, to make use of every single one. But often they use them in simple ways to describe anything and everything from landscapes to all aspects of the human condition.

Poems can evoke within us an individual response that takes us by surprise; that opens our ears and eyes to very personal feelings. Forget the idea of classic poetry being somehow dull and boring and best kept to children's textbooks. It still has life, vibrancy and relevance to our lives today.

Poetry is often cited as our greatest use of words. The English language has well over a million of them and poets down the ages seem, at times, to make use of every single one. But often they use them in simple ways to describe anything and everything from landscapes to all aspects of the human condition. Poems can evoke within us an individual response that takes us by surprise, or that opens our ears and eyes to very personal feelings.

Poems can evoke within us an individual response that takes us by surprise; that opens our ears and eyes to very personal feelings. Forget the idea of classic poetry being somehow dull and boring and best kept to children's textbooks. It still has life, vibrancy, and relevance to our lives today. Where to start? How to do that? Poetry can be difficult. We've put together some very eclectic Poetry Hours, with a broad range of poets and themes, to entice you and seduce you with all manner of temptations.