Bøger af Tim Allen

From Tim Allen, author of the 2016 bestseller, Apocalypse Orphan, this exciting story has all the elements of an epic thriller that will have readers biting their nails as six video gamers, trapped in a matrix of virtual worlds, fight for their lives against a seemingly unbeatable cyber-entity determined to enslave the human race. During the Cold War, Russia developed over 100 nuclear suitcase bombs, some capable of destroying a small city. In 2019, a Qatari terrorist acquired them on the black market. One summer day, he unleashed the fury of hell, raining destruction on the West. World War III engulfs the planet, and the superpowers develop super-intelligent androids to gain the upper hand. But the machines turn on their masters, slaughtering humans by the millions. The Robotic Wars rage on for years, but finally, the swarming androids are defeated. Determined that the world must never again fight a physical war and suffer mass destruction, a new alternative to shock and awe from the sky and boots on the ground is developed. Spy agencies begin recruiting and training an elite army of video warriors to battle in hostile worlds that exist only in virtual reality. Every nation develops its own cadre of well-trained video gamers, called "Irus," who defend their homelands against conquest. Wars are fought in virtual worlds for control of territories, natural resources, and wealth. But after decades of world peace and prosperity, something is going wrong with the global network of computer servers. Irus are suffering grisly deaths in real life, and ghostly apparitions are defying the laws of science, escaping from the virtual realm and manifesting in the physical world. Six young Irus are dispatched into the holo-cloud to investigate the glitch that is causing havoc with the war servers, and all hell breaks loose. Trapped in dangerous, computer-generated alien worlds, these video warriors must time-travel through treacherous scenarios and fight off aliens, zombies, enemy soldiers, and the vast legions of Rome to escape torture and death as prisoners of the game.

Facing up to Benjamin Péret's demand that poets 'show by total non-conformity their opposition to the world' this little book embodies refusal. It's perverse offering of 97 ways of looking at what cannot be seen refuses, in particular, to grow into a 'well-greased body of work'. Playfully anti-misrerabilist in their attack, the poems take the ball early and smack it in different directions all at the same time.Jeremy Over

The texts in this volume run parallel with the years of Austerity leading to Brexit and its fallout, issues internalised here before resurfacing within new narrative contexts and scenarios in which modern cultural history competes with autobiographical conflict to be transported elsewhere by the chimera of language.

Excavations at the Eton Rowing Course and along the Maidenhead, Windsor and Eton Flood Alleviation Channel revealed extensive evidence for occupation in an evolving landscape of floodplains and gravel terraces set amidst the shifting channels of the Thames.

The International Criminal Court has run into serious problems with its first big case - the situation in northern Uganda. This book argues that much of the antipathy to the ICC is based upon ignorance and misconception and that the ICC has made resolution of the war more likely.

The Voice Thrower is from a batch of long poems begun in the 90s, arising in my "anti poetry" phase. The title should speak for itself, except it doesn't, which is the whole point of being a voice thrower. The poem had a twin, The Submissive Bastards, initially sharing the trope of a red sky at dusk, but TVT's sky turned into a horizon at sea, specifically from Portland looking west across Lyme Bay (Portlanders call it West Bay anyway). While The Voice Thrower's bastard twin became more controlled, TVT grew ever wilder until, while trying to round it off, I began to suspect the poem was an unconscious attempt to engage with the memory of my mother (Hannah Lawton), yet I resisted making this the focus and let the poem mutate again, the original trope of the red horizon (my mother had red hair) spreading rhizome-like through the various scenarios. The irony though was that the more it tried to resist biography the more autobiographical it became. -Tim Allen

Recent excavations at Taplow Court have revealed a long sequence of activity stretching from the Mesolithic to the Anglo-Saxon period. Mesolithic struck flints and charred hazelnuts, and early Neolithic flints, were found in a small number of tree-throw holes.