Friday 31 August 2012

Beasts from above: Stunning views of African wildlife and scenery from a £65,000 helicopter safari

By Kerry Mcdermott
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From tranquil desert lakes and majestic cloud-wreathed peaks, to circling camels and a herd of mighty elephants thundering across Kenyan grasslands; these aerial images reveal the breathtaking beauty of the African landscape and the wildlife that calls it home.
The epic scenes were captured by a photographer high above the ground on board a £65,000 helicopter safari for wealthy wildlife spotters.
From his vantage point in the air, Martin Harvey was able to gain a bird's eye view of the country's awe-inspiring landscape; soaring over Kenya's remote valleys, lakes and craters, and dipping to low to glimpse Cape buffalo and African goats in their natural habitat.
Wildlife: These camels in the Chalbi Desert in northern Kenya are among the African animals captured from above in these stunning pictures
Wildlife: These camels in the Chalbi Desert in northern Kenya are among the African animals captured from above in these stunning pictures
'Seeing the wilderness of Africa from above is a unique experience, and viewing large numbers of animals from above is awe-inspiring,' said the 57-year-old.
'It's an incredible experience and gives one a completely different perspective than one gets from the ground.
'Taking pictures from the air is also great fun,' he added.
'It's probably much more dangerous driving on Africa's roads.'
 

Mr Harvey took the photographs while accompanying wildlife enthusiasts on the pricey helicopter safari - one of the more exclusive ways to feast your eyes on the ample scenery Africa has to offer.
'They are very wealthy people who want to enjoy an incredible adventure,' Mr Harvey said.
Lake Turkana, the world's largest desert lake, and an aerial view of a traditional Masai boma are among the many highlights seen from above in the series of images.
You could be forgiven for thinking that the photograph of Lake Turkana, located in Kenya's Great Rift Valley, shows lush fields of grass - but its water is bright green due to the water's extreme levels of alkaline.
In one picture a group of Pokot people, who traditionally herd sheep, are shown investigating the blue helicopter instead.
Epic: An incredible shot of Kenya's Lake Turkana, the world's largest permanent desert lake, which is home to crocodiles and turtles
Epic: An incredible shot of Kenya's Lake Turkana, the world's largest permanent desert lake, which is home to crocodiles and turtles
Africa from above: A herd of goats gather at the Koroli springs in northern Kenya's Chalbi desert
Africa from above: A herd of goats gather at the Koroli springs in northern Kenya's Chalbi desert

Iconic: The helicopter provided a spectacular view of a herd of African elephants - a member of the group of iconic African animals known as the 'big five'
Iconic: The helicopter provided a spectacular view of a herd of African elephants - a member of the group of iconic African animals known as the 'big five'
African life: An aerial photograph of a Masai boma, or enclosure, in Kenya, home to a family of Masai people
African life: An aerial photograph of a Masai boma, or enclosure, in Kenya, home to a family of Masai people
Stampede: A herd of Cape buffalo can be seen making its way across the Kenyan grassland in this aerial photograph
Stampede: A herd of Cape buffalo can be seen making its way across the Kenyan grassland in this aerial photograph
Breathtaking: Kenya's Lake Turkana - the world's largest permanent desert lake - was captured from the sky by a photographer in a helicopter
Breathtaking: Kenya's Lake Turkana - the world's largest permanent desert lake - was captured from the sky by a photographer in a helicopter
Tranquil: Lake Logipi is a saline, alkaline lake lying in the arid Suguta valley in northern Kenya
Tranquil: Lake Logipi is a saline, alkaline lake lying in the arid Suguta valley in northern Kenya
Majestic: This stunning shot of Kenya's Mount Ololokwe was taken from the vantage point of a helicopter
Majestic: This stunning shot of Kenya's Mount Ololokwe was taken from the vantage point of a helicopter

Bird's eye view: The Magado Crater is located at the north east tip of the Nyambeni mountain range in Kenya
Bird's eye view: The Magado Crater is located at the north east tip of the Nyambeni mountain range in Kenya
Lofty peak: Mount Kenya, which sits just south of the equator, is the country's highest mountain and the second highest in Africa
Lofty peak: Seen in the distance is Mount Kenya, which sits just south of the equator and is the country's highest mountain. It is the second highest in Africa overall


Sweeping views: The shadow of the helicopter can be seen on the rock face as it flies through Painted Valley, within the Suguta Valley
Sweeping views: The shadow of the helicopter can be seen on the rock face as it flies through Painted Valley, within the Suguta Valley

Curious: A group of Kenyan people gather around the safari helicopter for a closer look after it lands
Curious: A group of Kenyan people gather around the safari helicopter for a closer look after it lands

Exclusive: Wealthy wildlife spotters pay £65,000 to embark on one of the helicopter safaris
Exclusive: Wealthy wildlife spotters pay £65,000 to embark on one of the helicopter safaris
Mr Harvey specialises in aerial shots, and has also taken to the skies over Africa in a hot air balloon and an aeroplane in his efforts to capture the continent's vast scenery from above.
The photographer trained his lens hippos and giraffes on the ground below, and a herd of antelope dashing across floodplains in Botswana.
On the move: Sunlight glints on the water as a herd of lechwe antelope runs across floodplains in Botswana's Okavango Delta
On the move: Sunlight glints on the water as a herd of lechwe antelope runs across floodplains in Botswana's Okavango Delta

Spectacular sight: Photographer Martin Harvey has described witnessing the movements of large groups of African animals from the air as 'awe-inspiring'
Spectacular sight: Photographer Martin Harvey has described witnessing the movements of large groups of African animals from the air as 'awe-inspiring'

Beasts from above: A herd of Cape Buffalo move through the flood waters in the Okavango Delta in Botswana
Beasts from above: A herd of Cape Buffalo move through the flood waters in the Okavango Delta in Botswana

New perspective: An aerial view of the enormous herd of buffalo in Botswana
New perspective: An aerial view of the enormous herd of buffalo in Botswana

Rippling sands: The dunes of the Namib Desert in Namibia are captured to striking effect in this photograph taken from the air
Rippling sands: The dunes of the Namib Desert in Namibia are captured to striking effect in this photograph taken from the air

Mother and child: An baby hippo and its mother can be glimpsed below the surface of the water in this photograph taken in Botswana
Mother and child: An baby hippo and its mother can be glimpsed below the surface of the water in this photograph taken in Botswana



Desert scene: An aerial shot of a salt pan in the Namib Desert, Namibia
Desert scene: An aerial shot of a salt pan in the Namib Desert, Namibia

Drifting through the clouds: This aerial shot of the Namib Desert was taken from a hot air balloon
Drifting through the clouds: This aerial shot of the Namib Desert was taken from a hot air balloon

Out for a stroll: Martin Harvey snapped these two giraffe as they made their way across grassland in Botswana
Out for a stroll: Martin Harvey snapped these two giraffe as they made their way across grassland in Botswana

Unrecognisable: Seen from the air, this picture of Sossusvlei in Namibia is almost unrecognisable as a desert landscape
Unrecognisable: Seen from the air, this picture of Sossusvlei in Namibia is almost unrecognisable as a desert landscape

Blazing heat: The sun beats down on the sand dunes of Sossusvlei in the Namib Desert in this aerial shot
Blazing heat: The sun beats down on the sand dunes of Sossusvlei in the Namib Desert in this aerial shot

Bath-time: A group of hippos photographed close to water in Botswana's Okavango Delta
Bath-time: A group of hippos photographed close to water in Botswana's Okavango Delta

Bounding around: Lechwe - or antelope - like the ones in this photograph are a familiar sight in Botswana
Bounding around: Lechwe - or antelope - like the ones in this photograph are a familiar sight in Botswana

Out of this world: This picture of the Namib Desert could be mistaken for the surface of another planet
Out of this world: This picture of the Namib Desert could be mistaken for the surface of another planet

On the march: African elephants - including a baby - march in single file in Botswana
On the march: African elephants - including a baby - march in single file in Botswana

Arid: An other-wordly looking aerial view of the Hidden Vlei, an area of the Sossusvlei in the Namib Desert
Arid: An other-wordly looking aerial view of the Hidden Vlei, an area of the Sossusvlei in the Namib Desert

Shifting sands: Another beautiful aerial image shows the sand dunes of the Namib Desert as seen from the air
Shifting sands: Another beautiful aerial image shows the sand dunes of the Namib Desert as seen from the air

Lush: The greenness of the surroundings in this photograph of buffalo in the Okavango Delta contrasts with the arid scenes over the Namib Desert
Lush: The greenness of the surroundings in this photograph of buffalo in the Okavango Delta contrasts with the arid scenes over the Namib Desert

"The 10 Rules of Reiki" by Taggart King



taggart king reiki training courses
In this article I thought I would set down ten things that you can do – ten principles to take account of – to benefit your practice of Reiki. This is not something that has come from Japan, or from early practitioners of Reiki: it is just something that I have put together myself. I hope that this article will be of interest to people at all Reiki levels.
 

(1) Reiki is all about you

Although Reiki is sometimes presented in the West as a sort of complementary therapy, a hands-on treatment technique, or a form of Japanese spiritual healing, that is not what Reiki is all about. If your practice of Reiki consists mainly of treating other people then you are missing the point because Reiki is all about you! Reiki is a personal practice for your self-healing and your spiritual and self-development. You are the priority here.
In Usui’s time the treatment of others was not focused upon or emphasised, in fact treatments were a bit of a distraction from the main thrust of his teachings, which Usui Sensei referred to as a “system to achieve personal perfection”. Right from the start, the system was about personal development, not working on others.
So to gain the greatest benefits for yourself through Reiki, you need to establish a decent routine of working on yourself in whatever way that you were taught. If you were taught Western-style then do your hands-on self-treatment regularly, if you know about Japanese-style Reiki then practise your Hatsurei ho; if you know about Usui Sensei’s original system then add his self-treatment meditation to your regular Hatsurei.
I know that some people seem to have the view that working on yourself is in some way ‘selfish’, but if you cannot look after yourself properly then how can you help other people? By working on yourself regularly you make yourself a better channel and more effective at what you do in terms of treatments, so there are plus points all round for those who make themselves their Reiki priority.

(2) Base your practice on the precepts

Usui Sensei established a simple spiritual system that was rooted in his precepts, his ‘rules to live by’. Rather than being an interesting set of instructions to read on a course and put to one side, Usui’s precepts are at the very heart of his system, and it was said that as much spiritual development could come through following the precepts as would come through doing any of the energy work. If we are consider ourselves as ‘practising Reiki’ then we will follow the precepts.
So we need to think deeply about the precepts and how they affect our lives. We need to consider each precept in turn and reflect on how that precept might impinge upon and guide our thoughts and behaviour and relationships and priorities. And we need to do this regularly, using the precepts as an ongoing source of guidance, the effects of which will make a real difference to us, and the people around us, over time.
The precepts are something that you we drip-feed into our lives, something that we refer to regularly and reflect on regularly, for our own benefit and for the benefit of the people with whom we come into contact.

(3) Practise mindfulness

Although not referred to on most Reiki courses, the practise of mindfulness was as important part of Usui Sensei’s system as were the precepts, and in fact mindfulness is hidden in the precepts! Mindfulness is a form of meditation that one can perform at any time, when carrying out ordinary, mundane activities like walking somewhere or washing dishes or sipping tea, and involves becoming consciously and fully aware of your thoughts and actions in the present moment, non-judgmentally, existing in the moment.
When you are living ‘in the moment’, fully engaged in what you are doing, fully aware of the present moment, then you are existing in a state where there is no anger and there is no worry. By not dwelling on the past or speculating about the future, by embracing fully the present moment, you are living the precepts, and mindfulness brings with it humility, honesty, compassion and forgiveness.
So mindfulness is a way of experiencing Mikao Usui’s spiritual principles.

(4) Work on yourself daily

Reiki isn’t something that you can pick up once in a while, play around with for a bit, and then drop again… not if you are looking to receive the many benefits that are available from the system, anyway. If you are looking for consistent benefits then you need a consistent practice. The precepts say “just for today”, and that is a good starting point: just do something with Reiki today. You can manage that. It doesn’t have to be hours and hour’s worth. Just do something for 10 minutes: you have ten minutes. Do something for 20 minutes. And if you don’t have ten minutes, get up 10 minutes earlier: problem solved.
Don’t worry about what you will do tomorrow: just focus on today.
When tomorrow comes, do the same. Just do something with Reiki, even for ten minutes. Don’t worry about tomorrow: just do something today.

(5) Commitment is the key

There are spectacular benefits to be enjoyed through practising Reiki, and all you need to do is to work with the energy consistently, focus on the precepts and practise mindfulness. The benefits build up cumulatively, you see, and sporadic and occasional practice isn’t enough if you want the very best out of your Reiki. You will get out of the system what you are prepared to put into it, so Reiki deserves a little of your time each day. You need to plug away at a few simple things, a few simple exercises or routines, and make them a regular part of your day, as regular a part of your routine as brushing your teeth or your hair.
And once you have established a regular habit of working on yourself with Reiki then you will find that it is difficult to stop: you will find that you really miss your hatsurei session or your self-treatment if you miss a day. That is the sort of position you are looking to get yourself into and by committing yourself to working with Reiki each day, even if it is a little inconvenient, you will reach that point.

(6) Don’t try too hard

While we do need to commit ourselves and establish a decent routine of working on ourselves in order to obtain the many benefits that are available to us through Reiki, we should at the same time make sure that we do not try too hard, work for too long, or take our practice too seriously. Reiki is best enjoyed in a gentle, laid-back and light-hearted fashion rather than in a fists-clenched, furrowed-brow, tense, ‘ready for a lot of hard work’ sort of way. We do not force Reiki and we do not force a fierce practice on ourselves.
Reiki is rather like a flowing stream of water, and we are a rough rock sitting in that stream. The rock will become smooth, of course, but this will be achieved gently, through having the water flow consistently, and this will be done in its own time.
We might read about some of the experiences that other Reiki people might have when working on themselves, or receiving attunements/empowerments, or treating others (seeing colours, feeling particular things) and we may not notice all these things ourselves; we may notice very little. We may then think that if only we tried a bit harder then we would notice these things and then we would then be ‘doing it properly’.
But trying hard and trying to force things is the best way there is to put a great big block on your progress. You will progress fastest when you give up trying and just be. Stand aside (metaphorically), do the exercises, treat people, and don’t think or worry about what you do or do not experience. Be a bystander, be neutral and empty, have no expectations. That is the best approach, the approach that will lead you to progress at the right speed for you.

(7) You don’t need to be perfect

Along with the need to be relaxed and laid-back and light-hearted about your practice, you should also make sure that you are not beating yourself up for not being perfect! You do not have to be perfect in order to obtain benefits for yourself through Reiki, or to treat other people successfully. No-one else is perfect, so you don’t have to be either.
So perhaps your mind wanders when you do a treatment or work on yourself. So what? This happens to everybody else. Don’t worry about it (there is something in the precepts about worrying). It you make a big thing about it and try through ‘force of will’ to have an empty mind, you have just made things worse: now you have two lots of thoughts… the first thoughts and then all the new thoughts about getting rid of the first lot of thoughts! Don’t worry. Pay the thoughts no attention. Let them go. Bring your attention gently back to what you were doing. Feel the energy flowing through you; imagine yourself merging with the person on the treatment table. Over time your mind will settle, and you’ll spend more of your time in a nice empty meditative state, but thoughts may well intrude again, and some days will probably be better than others. That’s ok. You’re human. It will sort itself out with time.

(8) Don’t keep trying to puzzle out ‘why’

To get the best out of your Reiki I recommend that you don’t spend too much time trying to puzzle out why you are - or are not – experiencing a particular thing. Don’t keep trying to work out what a particular colour that you or the recipient saw during a treatment means, or ponder the significance of a colour that you saw when self-treating. Don’t keep wondering what a particular sensation in your hand means or why you felt a lot of energy flowing into a particular area of someone’s body, or why you didn’t feel any energy flowing into a particular place. It doesn’t matter.
Your head can really mess up your experience of Reiki if you keep on frantically thinking about, analysing and questioning things. Don’t think! Just be. Empty your mind, merge with the energy, if you are treating someone then merge with the recipient, and let it happen. Follow the flow of energy when you are treating, yes, and allow your hands to stay for longer in areas where more energy is coming through, but don’t start frantically trying to puzzle out what is going on: Reiki works on lots of levels and you won’t know what’s happening so you may as well give up thinking about it and let go: enjoy the process, enjoy your treatments and give up the mental effort! It makes it so much easier that way!

(9) Trust your intuition

Along with not questioning everything that you feel or don’t feel, you should also not keep on doubting the things that you are feeling and noticing. If you feel something, you feel it: you are not making it up. You cannot make yourself feel something.
So if you notice that energy is flowing into you more strongly in a particular area when you are self-treating, accept that and go with it, self-treating for longer there than in other positions. The same applies when treating someone else: if you feel that there is a ‘hot spot’ or ‘fizzy area’ then accept the sensations and treat for longer there. You are not making it up.
Neither are you making it up if you feel strangely drawn to a particular area of the body. You are intuitive and you can work intuitively straight away. All you need to do is to stop second-guessing and doubting yourself, be still, and simply accept what comes to you. It doesn’t need to make sense. Don’t try and puzzle it out: just accept it and treat in the way that feels appropriate.

(10) Ignore silly rules and restrictions

While we are making sure that we are not cluttering our practice with endless thoughts, questions and doubts, we should also thrown out as unnecessary the various rules, regulations and restrictions that we may have been taught. Reiki does not need to be controlled, blunted and restricted by man-made rules that have no basis. Reiki is safe and Reiki is simple, and simple approaches are usually the most effective.
So we do not have to slavishly follow a prescribed set of hand positions when treating ourselves or other people and we do not need to say a set form of words for our Reiki to work. We do not need to follow ritualised sets of hand and body movements in a particular sequence to be able to treat someone and we do not need to refrain from treating people with various medical conditions. Reiki is safe and Reiki is adaptable. It allows many different ways of working that are all valid. There is no ‘one’ way that Reiki has to be used, and we should ignore admonitions that we should ‘always’, or ‘never’, do a particular thing.
 
So, to get the most out of your Reiki, I recommend that you make a commitment to yourself to work on yourself each day as your top priority, but not beating yourself up if you miss the occasional day. Use Hatsurei ho and self-treat, focus on the precepts and drip-feed mindfulness into more and more of your daily activities. Don’t try too hard though: be light-hearted and forgiving towards yourself because you don’t have to be perfect. Try not to clutter your mind with lots of thoughts and doubts and questions: just be neutral, have no expectations, be empty and content. And make sure you keep it simple.

http://www.reiki-evolution.co.uk/taggart-king-reiki-articles-24.html






Be like Magic Mike: How I Find Inspiration in Beautiful Asses, I Mean Places. ~ Kristin Marie Breheim

         
 
 



What is so magical about Magic Mike?

“So tonight, Erin and I are going to see Magic Mike.” Maggie says smiling.
Jumping in her seat, Rachel asks, “Tonight? What time?”
What is Magic Mike?” I ask.
“Seriously?” Maggie asks.
“Seriously.” I respond.

In less than ten seconds Maggie pulls up the Magic Mike movie trailer on her iPhone.

A  strong, movie-guy voice comes in: “Channing Tatum—naked and dancing for your visual pleasure. Ladies and gentlemen who love gentlemen, it’s on! It’s raining sexy men. If you didn’t know, Tatum has moves. If you look closely, you can see a side cock shot. And there is a story line. Strippers have feelings too. Beyond the abs of a Greek God, there is a man who just wants to be loved. Back to Tatum’s bitable ass. Costumes, little underwear, and the dick of the century. In theaters now.”
“Wow.” I hand Maggie her phone.
“Well, you wanna come?” (Yes, there is a pun here.)
I have no words.

I am too stunned from the perfect circles that are Channing’s ass.

My plans tonight include hot yoga class, shower, dinner and bed. Hmm.
“I’m going for sure.” Rachel says nodding her head.
“OK. I’ll come. And I’ll bring the wine.” I say with a smirk, knowing I’ll miss my yoga class, but hey, when opportunity knocks.
“What else do we need?” Maggie asks.
“Chocolate.” Rachel adds.
Four ladies from the little resort town of Breckenridge, CO drive eighteen miles to see Magic Mike. We settle into the back row.
Chocolate: check.
Wine: check.
As the intro music plays, the cornucopias of woman scream and actually clap. I question, “Have I ever been to a movie where the audience clapped before it began? Titanic? No, they clapped at the end. What’s so magical about Mike anyways?”
The wiggling, jiggling and flesh bumping begins with Dallas, a very cut Mr. McConaughey center stage wearing a cowboy hat and chaps. Dallas goes over the rules about touching the dancers, rather, where ladies cannot touch. Then announces, “But I think I see a lotta lawbreakers up in this house tonight.”

Cowboys, cops, and firemen, oh my!

The clothes come off.
The yogi in me ponders, “Does this go against Brahmacharya, continence? What about Saucha, purity?”

I’m definitely thinking filthy thoughts.

I smile, partly at the inner-beast-like-ooga-booga-sexuality these hotties bring out of me, but, I also smile pleased with the role reversal. Tons of movies show women naked. Three easily pop into my mind: Wild Things, Striptease and Titanic.

This got the feminist in me to thinking, “Why is this such a big deal? There must be movies that graciously objectify the male species.” After two days of contemplating, the only male stripper movie I came up with is The Full Monty.
Thanks to YouTube, I got to work on some very difficult research. All I cam up with, was  A Night In Heaven in 1983 and Just Can’t Get Enough in 2002. Clearly, Magic Mike takes the cake. I love envisioning him jumping out of cake.
As the movie credits roll, everyone in the theater stares at the screen. “Is there more?” I ask Erin.
“God willing.” she replies, squeezing her hands into fists. We slid back into the chairs. It’s over.
“I need a towel for my seat.” Maggie says fanning herself with her hand.
“That was magical.” Erin sighs.

And I think to myself, “What was so magical about Mike?”

The woman in me takes great pleasure in the magic of Mike’s delicious body and the way he dances—taking off his clothes is frosting on a cupcake. The yogi in me sees magic in Mike’s tapas, his zeal. Not to be confused with his tukas, which, yes, is definitely magical.
It’s really Mike’s unwavering persistence. There’s a fire under that (fine) ass, motivating him to work hard for the money (this pun was inevitable). Despite all his fears: 1) ending up like the club owner, 2) the stripper cliché, and 3) letting the one great love get away; what was magical was that the four of us ladies left the theater singing and clapping to, It’s Raining Men! Hallelujah! (The Weather Girls).
“Now go home,” Erin says to me, “…and make love to your man.”

My very own magic man.

That is exactly what I did.
It was magical.

Kristin Marie Breheim has been practicing yoga for 12 years. To compliment her RYT certification, she continually studies at home and local studios. Breheim has taught over 4,000 yoga classes in 5 countries. Her inspiration comes from her dog, Obie, hiking mountains, and eating way too much cake batter. Her practice and free yoga classes can be found on YouTube: Yoga Should Be Free.



Thursday 30 August 2012

Intelligent cat?







The Wind in the Willows

The Wind in the Willows by Kenneth Grahame












The Wind in the Willows is much more than a story from a bygone age. It is, frankly, one of the finest children's books ever written. One hundred years after it was first published, Kenneth Grahame's masterpiece can be picked up and read to any young child, and it will have a mesmerizing effect.
Mole, Ratty, Badger and Toad are some of the most famous characters to ever emerge from children's literature. The image of the proud and vain Toad dressed as a washerwoman is as memorable as ever – even though today's kids won't be familiar with the profession of washerwoman.
While Grahame's book concerns friendship, foolishness and loyalty, the real story behind the author's life is decidedly sad. Edinburgh-born Grahame worked in finance at the Bank of England but loved writing far more than banking. He published several books - including Golden Age in 1895 and Dream Days in 1898 – but never succeeded in making enough money to escape the daily grind of the City of London. He was even wounded in an attempted bank robbery.
His son, Alastair, was born with sight problems and eventually committed suicide under a train while at Oxford University. The author became reclusive after the tragedy. It had been Grahame's bedtime stories for his son that served as the basis for The Wind in the Willows.
Incredibly, Grahame struggled to find a publisher for Wind in the Willows but Methuen's decision to take it on was to pay dividends – by 1951, there were 100 UK editions alone. The book could also have faded away into obscurity but AA Milne, author of Winnie the Pooh, produced a highly successful 1929 stage version called Toad of Toad Hall which thrust Grahame's story back into the public consciousness and helped to guarantee enduring success. Milne's stage play is still a favourite today.
The Wind in the Willows did not originally include illustrations but over the years a large number of artists have added their interpretations of the tale. The most famous of these being by Wyndham Payne (who illustrated the first edition with artwork), the Ernest H. Shepard editions, and those drawn by Arthur Rackham. The 1908 first edition first printing has a striking frontispiece by Graham Robertson.
Despite the enormous success of the book, Grahame did not revisit the characters from the story but others have tried. In 1981, English author Jan Needle wrote Wild Wood retelling Wind in the Willows from the viewpoint of the residents of the Wild Wood. All the interactions between the working class residents of the wood and Toad's upper class friends take on an entirely new meaning. In the 1990s, William Horwood created several sequels including, The Willows in Winter, Toad Triumphant, The Willows and Beyond and The Willows at Christmas.
Grahame's bittersweet life, where he won public acclaim for his classic story but suffered great personal tragedy, has also inspired several biographers - Peter Green's Kenneth Grahame: A Biography from 1959 is probably the best.

Guide to collecting The Wind in the Willows

Under The Willow Books has kindly provided a guide to collectible editions of The Wind in the Willows.
1908 Editions
1908 UK First Edition of the Wind and the Willows The 1908 first editions have just a frontispiece illustration by the noted British artist (Walford) Graham Robertson. The first and second UK editions, published by Methuen and Co, were published in the same month. Look for the gilt green cloth binding. Extremely collectible and they don't come cheap.
The first US edition was also published in 1908 by New York's Charles Scribner's Sons. It is dated 1908 on the title page and states "Published October, 1908" on the reverse. It has a green cloth binding and gilt border. Thanks to its larger print run and less attractive binding, this edition is more affordable.

First editions with artwork by American Paul Bransom (contains 10 colour plates throughout the book, pictorial endpapers, a title page vignette and attractive cover artwork)
1913 UK Wind and the Willows with artwork by Paul Bransom The first US Bransom edition again came from Charles Scribner's Sons and was printed in 1913. It is dated 1913 in Roman numerals at the foot of the title page and states "Published October, 1913" on the reverse. It has a blue ribbed cloth binding with an attractive design on the cover in yellow, green and blue with a gilt border and lettering in red and blue against a white background. The first UK Bransom edition came from Methuen in the same year.


First editions with artwork by the American artist Nancy Barnhart with 12 color plates
1922 UK Wind and the Willows with artwork by Nancy Barnhart First UK Barnhart edition came from Methuen but the title page is undated. The reverse states "This Illustrated Edition First Published in 1922" followed by a list of all editions ending in "Twelfth Edition... January 1922.” It has blue cloth binding with a black vignette and gilt lettering to the cover. The UK edition has plain endpapers and a pictorial border to the title page.
First US Barnhart edition came from Charles Scribner's Sons in 1923* (a 1922 edition may exist but this is unconfirmed). It is dated MCMXXIII on the title page (with just 1908 and 1913 copyright notice on reverse). It has the same binding as the UK edition. The US edition has the old Bransom pictorial endpapers and part of the cover vignette is used as a title page vignette.


First editions with artwork by the British artist Wyndham Payne with 20 plates in black, yellow, and white
1927 UK Wind in the Willows illustrated by Wyndham Payne The first UK Payne edition was published by Methuen in 1927. The title page is not dated, but the reverse shows a list of all editions ending in "Twenty-fifth Edition (Illustrated by Wyndham Payne), 1927". Comes in blue cloth binding with gilt lettering


First editions of AA Milne's adaptation for the stage, Toad of Toad Hall, not illustrated:
1929 UK Toad of Toad Hall by AA Milne In 1929, Methuen produced 200 copies of a limited UK edition of Toad of Toad Hall that were signed by Milne and Kenneth Grahame. A very collectible book.
The first UK trade edition of Toad of Toad Hall was published by Methuen in 1929. It is not dated on the title page but states on the reverse "First Published in 1929". Bound in blue cloth with a gilt toad vignette to the cover and gilt lettering on the spine
The first US trade edition of Toad of Toad Hall was published by Charles Scribner's Sons in 1929. It is dated 1929 on the title page and shows "Copyright, 1929" on the reverse. Bound in paper-covered boards with an interesting Art Deco yellow and red design on the cover

First editions with artwork by the noted British artist Ernest H. Shepard with black and white illustrations throughout
1931 UK Wind in the Willows Limited Edition illustrated by Ernest H. Shepard In 1931, Methuen produced a limited edition run of 200 copies signed by Grahame and Ernest Shepard. Perhaps the most desirable illustrated editions thanks to Shepard's fame as an artist.
In the same year, Methuen published the first UK Shepard trade edition. The title page is not dated and the reverse shows a list of all editions ending in "Thirty-eighth Edition (Illustrated by Ernest H. Shepard, 1931). Bound in green cloth with a gilt vignette to the cover and gilt lettering to the spine.


1933 UK Wind in the Willows Limited Edition illustrated by Ernest H. Shepard The first US Shepard trade edition came from Charles Scribner's Sons in 1933. The title page is dated 1933 and reverse shows copyright dates 1908, 1913, 1933. There seem to have been several jackets for the US edition dated 1933. It is bound in blue cloth with the same gilt vignette to the cover and gilt lettering to the spine.


1960 US Wind in the Willows illustrated by Ernest H. Shepard Methuen then persuaded Shepard to complete eight colour plates to go with his numerous line drawings. First editions were printed in 1959 by Methuen and 1960 by Scribner's.
In 1971, Methuen once again persuaded the elderly Shepard to re-visit the book and colour all the original artwork which he first produced 40 years earlier. There was a limited edition run of 250 copies of this colour version signed by Shepard. UK trade editions from 1971 need the reverse of the title page to indicate it was first published that year.

First editions with artwork by the noted British artist Arthur Rackham (the artist's last book and published after his death)
1940 US Wind in the Willows Limited Edition illustrated by Arthur Rackham A US limited edition of 2020 copies was produced by New York's The Limited Editions Club in 1940. They had quarter cloth binding and a cream cloth spine with gilt lettering over decorative paper-covered boards. There are 16 mounted colour plates and a green vignette to the title page
Published by New York's Heritage Press in 1940, the first US Rackham trade edition features all the Rackham black and white illustrations but four fewer colour plates. The keys to identifying this edition are the binding and the title page showing "The Heritage Press". It has a red buckram spine with yellow lettering over blue cloth-covered boards and a yellow vignette to the cover.


1951 UK Wind in the Willows 100th Limited Edition illustrated by Arthur Rackham The first UK Rackham trade edition came from Methuen in 1950. The title page is not dated but the reverse shows "This book was first issued on October 8th, 1908, since when it has been reprinted in a variety of editions, illustrated and un-illustrated, 96 times, Ninety-seventh edition, 1950". Bound in green cloth with gilt lettering to the spine, there are 12 colour plates and 15 black and white vignettes
In 1951, Methuen produced the 100th UK edition – a Rackham edition limited to 500 numbered copies. The title page is not dated, but the reverse shows "This book was first issued on October 8th, 1908, since when it has been reprinted in a variety of editions, illustrated and un-illustrated, 99 times. This one hundredth edition, published in 1951, is printed on handmade paper and is limited to 500 copies..." Bound in white leather with gilt lettering to the spine, the book has 12 tipped-in colour plates and 15 black and white vignettes.


Charles Dickens and the Popularity of Abject Misery


Actually 36 volumes – includes two volumes on The Life of Charles Dickens by John Forster
The Works of Charles Dickens, in Thirty-Four Volumes

The world has seen many talented wordsmiths in literature, but few can hold a candle to the skill of Charles Dickens (1812-1870), especially when it comes to bleakness, hardship and injustice. After all, how many famous figures can boast that their name became an adjective (in this case ‘Dickensian’) meaning squalid, grim and poverty-stricken? That’s an impressive accomplishment of excellent descriptive writing (if perhaps somewhat depressing).

Dickens was a 19th-century English novelist whose work was best known for being, aside from bleak, highly realistic and descriptive with fully developed and highly relatable characters. He occasionally wrote under the pen-name Boz (pronounced "Boze" - rhymes with rose), from a family nickname given to his youngest brother - just one of myriad interesting Charles Dickens facts. Throughout his career, Dickens authored over a dozen major novels, which were usually published originally as monthly serials, as well as a large number of short stories and a handful of books of non-fiction. Among his most famous works is A Christmas Carol, the cautionary tale whose film adaptations have become a traditional Christmas staple in many homes each year.
While his death occurred nearly 150 years ago, his books remain popular and often read, and some of his characters – Oliver Twist, Ebenezer Scrooge, David Copperfield and many more – are among the most iconic and best-known in literary history.

Read on for some interesting trivia and facts about Charles Dickens, a list of our top 10 most expensive Charles Dickens sales, and to experience some real Dickensian classics from the suffering endured in The Life and Adventures of Nicholas Nickleby and Oliver Twist to the changing world of A Tale of Two Cities.

10 Most Expensive Charles Dickens Works Sold on AbeBooks
1. Works of Charles Dickens - £7,932
22 volumes, including a signed letter from 1859 to Peter Cunningham (who appeared in “Not So Bad As We Seem” with Dickens in 1851)in which Dickens presents this his library edition “in remembrance of an old engagement between us.”
2. A Christmas Carol - £4,759
A first edition, first issue copy published by Chapman & Hall in 1843 with illustrations by John Leech. 
3. A Tale of Two Cities - £4,410
The first edition from 1859 by Chapman & Hall, from the original 8-in-7 serial parts, leather-bound in three-quarter red morocco with gilt-paneled spine, top edge gilt and including with all wrappers and ads. 
4. David Copperfield - £4,380
In the original parts no. 1-20 in 19 by Bradbury & Evans, 1849-50 with engraved plates by H.K. Browne aka Phiz. 
5. Works of Charles Dickens - £2,793
Complete in 10 volumes bound in full green morocco with raised bands, decorative gilt tooling to the spines, gilt rule to the boards, and all edges gilt.
6. Oliver Twist - £2,770
This first edition from 1838 in three volumes is the first issue with 'Boz' on title page and with the 'Fireside' plate in vol. 3.  Dickens did not like Boz on the spine and title, and after a week of distribution had this and the famous ‘fireside’ plate changed.  As such one can really pinpoint the date of issue to one week in November 1838.  Oliver Twist was not issued in parts like most of Dickens’ other works so this is really the first edition in the first week of printing.
7. Master Humphrey’s Clock - £2,550
The original 88 weekly installments set in a handsome green cloth box by Sangorski and Sutcliffe.  The publication includes illustrations by George Cattermole & Phiz
8. A Christmas Carol  - £2,529
A second edition, second state copy of Dickens' most famous of his five Christmas books, in cinnamon cloth and gold-gilt cover designs and page edges and included a former owner's inscription. 
9. A Christmas Carol - £2,062
The 10th edition, published 1844, was the first to be bound in the bright red cloth which would be used for Dickens' four subsequent Christmas books.
10. The Posthumous Papers of the Pickwick Club - £2,051
First edition thus from 1838, Van Diemen's Land Edition (Tasmania), bound in contemporary half brown morocco and containing 18 plates which were originally crafted by Phiz, except in this edition local Tasmanian artist “Tiz” aka Thomas Lempriere copied and/or adapted the illustrations.



A Selection of Collectable Dickens

Bleak House by Charles Dickens
Bleak House
by Charles Dickens

Bradbury & Evans, published monthly over 1852-1853 in nineteen monthly parts. 40 plates with illustrations by Hablot K. Browne, aka Phiz.
The Christmas Books Being A Christmas Carol, The Chimes, The Cricket on the Hearth, The Battle of Life and the Haunted Man by Charles Dickens.
A Christmas Carol, The Chimes, The Cricket on the Hearth, The Battle of Life and the Haunted Man
by Charles Dickens

All five Christmas books together by A. & F Pears Ltd, Centenary Edition, 1912.
A Christmas Carol by Charles Dickens
A Christmas Carol
by Charles Dickens

This rare and exquisitely detailed edition comes in full red morocco Cosway binding, with the miniature inlaid portrait.
The Life and Adventures of Martin Chuzzlewit by Charles Dickens
The Life and Adventures of Martin Chuzzlewit
by Charles Dickens

Green cloth binding with gilt decorations to spine and cover, the Household Edition of this work, illustrated by F. Barnard.
The Mudfog Papers by Charles Dickens
The Mudfog Papers
by Charles Dickens

A series of short satirical pieces by Dickens. This edition is from the Leisure Hour Series by Henry Holt of New York. 1880.
The Cricket on the Hearth by Charles Dickens
The Cricket on the Hearth
by Charles Dickens

By J.M. Dent & Co.of London. Beautiful gilt-decorated boards. Illustrated with eight colour plates and drawings in the text by C. E. Brock.
Dombey and Son by Charles Dickens
Dombey and Son
by Charles Dickens

Limited Editions Club, 1957 edition of this Dickens classic in two volumes. Illustrated by Henry Pitz.
The Short Stories of Charles Dickens
The Short Stories of Charles Dickens

This Easton Press edition is beautiful and affordable, bound in leather and accented with real 22kt gold.

The Personal History of David Copperfield by Charles Dickens
The Personal History of David Copperfield
by Charles Dickens

This 1911 trade edition by Hodder and Stoughton is beautifully bound in red cloth with black and gilt decorations and includes 20 tipped-in color plates.
Little Dorrit by Charles Dickens
Little Dorrit
by Charles Dickens

This edition of Little Dorrit, originally a serial novel published over 1855-1857, is an affordable single-volume published by Estes & Lauriat.
A Tale of Two Cities by Charles Dickens
A Tale of Two Cities
by Charles Dickens

The relatively scarce first one volume U.S. edition. The book had been previously serialised in Harper's Weekly.
Hard Times by Charles Dickens
Hard Times
by Charles Dickens

Easton Press’ 1966 treatment of Dickens’ 10th novel is gorgeous as always, in full red leather.
Barnaby Rudge by Charles Dickens
Barnaby Rudge
by Charles Dickens

1842 First American Edition by Lea & Blanchard complete with engravings by Yaeger from designs by Sibson, Cattermole and Browne.
The Life and Adventures of Nicholas Nickleby by Charles Dickens
The Life and Adventures of Nicholas Nickleby
by Charles Dickens

This 1901 Chapman & Hall edition includes illustrations by Phiz, real name Hablot Knight Browne.

Sketches by Boz by Charles Dickens
Sketches by Boz
by Charles Dickens

A collection of fiction and non-fiction short stories by Dickens in two volumes by John Macrone of London, 1836.
Great Expectations by Charles Dickens
Great Expectations
by Charles Dickens

One of Dickens’ most popular novels, this edition of the story told by Pip the orphan comes from German publisher Bernhard Tauchnitz in two volumes.
The Battle of Life: A Love Story by Charles Dickens
The Battle of Life: A Love Story
by Charles Dickens

Bradbury & Evans, London, 1846. Contains a beautiful wood-engraved frontispiece and title page as well as 11 more engravings interspersed throughout the text.
The Chimes by Charles Dickens
The Chimes
by Charles Dickens

Limited Editions Club, 1931 – 1500 numbered copies signed by illustrator Arthur Rackham, who provided the six full page and 14 smaller black and white drawings.

The Personal History Of David Copperfield by Charles Dickens
The Personal History Of David Copperfield
by Charles Dickens

The Franklin Library, a division of the Franklin Mint known for exquisite bindings, published this lovely edition of The Personal History of David Copperfield.
The Posthumous Papers of the Pickwick Club by Charles Dickens
The Posthumous Papers of the Pickwick Club
by Charles Dickens

1910 First edition illustrated by Cecil Aldin, in two volumes bound in vellum-like tan cloth. Includes 24 color plates.
The Mystery of Edwin Drood by Charles Dickens
The Mystery of Edwin Drood
by Charles Dickens

The final novel by Charles Dickens, a monthly serial which remained unfinished at his death. All six parts from 1870, Chapman & Hall.
The Adventures of Oliver Twist by Charles Dickens
The Adventures of Oliver Twist
by Charles Dickens

In decorated red cloth, 1899 by MacMillan & Co. Illustrated by George Cruikshank.
The Haunted Man and the Ghost’s Bargain by Charles Dickens
The Haunted Man and the Ghost’s Bargain
by Charles Dickens

1907. In cream stiff vellum covers with gilt cherubic decorations and lettering, cover & spine. Bright color illustrations by C.E. Brock throughout.
Our Mutual Friend by Charles Dickens
Our Mutual Friend
by Charles Dickens

This 1865 first authorised U.S. edition of Our Mutual Friend, originally a monthly serial from 1864-1865 is a single volume by Harper & Brothers.
The Old Curiosity Shop by Charles Dickens
The Old Curiosity Shop
by Charles Dickens

This 1910 edition by Hodder & Stoughton of London includes 21 tipped-in color illustrations by Frank Reynolds.

Interesting Charles Dickens Facts
  • Dickens' father was imprisoned for debt and 12-year-old Charles was sent to work in a factory to help support the family.

  • Dickens kept a pet raven named Grip, which he had stuffed when it died in 1841.

  • In 1846 Dickens co-founded Urania Cottage, a home for the redemption of "fallen" women where accepted candidates could learn skills, often domestic, and re-integrate into society.

  • Dickens was keenly interested in the paranormal, and has even been linked to the famous paranormal investigation group “The Ghost Club” of London.

  • Dickens' story The Signal Man is partly derived from personal experience.  In 1865 Dickens was involved in the famed Staplehurst rail crash in which seven train carriages toppled off a bridge that was under repair.  Dickens narrowly avoided catastrophe as his own car was the first to be spared once the train finally stopped, however the incident scarred him mentally.

  • He was an obsessive compulsive, reportedly always re-arranging his hotel furniture and having to sleep with his head pointing north.

  • Dickens gave every one of his ten children nicknames like "Skittles" and "Plorn."

  • Hans Christian Andersen became a good friend of Dickens and in 1857 visited his family, for five weeks.  The visit ended with Dickens writing on the guest room mirror “Hans Andersen slept in this room for five weeks which seemed to the family AGES!”

  • In Boston, thousands of people gathered at the dock to await the ship that carried chapter 71 of Dickens’ The Old Curiosity Shop. When the ship arrived, they asked the captain about a beloved character from the novel: “Is Nell dead?” When the affirmative response came back, a collective groan rose up from the massive crowd.

  • He was an advocate of hypnotism and attempted to use it to cure his wife and children of ailments.

  • In his study he had a secret door which was designed like a bookcase filled with fake books rumored to include titles like Noah's Arkitecture and a nine-volume set titled Cat's Lives.