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BELLEAU WOOD The Battle of Belleau Wood has a prominent place in the history of the United States Marine Corps; it took place between 6 and 27 June 1918 (sometimes considered to be 1-26 June). However, when on 6 June 1918 the marines launched their attack on the wood, the biggest German threat here was nearly over. Its significance to the Corps is underlined by the presence not only of a monument to the 4th (Marine) Brigade of the US 2nd Division but also by a preserved part of the wood, which is situated to the rear of the Aisne-Marne American Cemetery. The fighting here marks the first major battle by the USMC in Europe. The battle came - although the participants were unaware of this - at the end of the the third great German offensive of Spring 1918, the Blucher-York Offensive, also known as the 3rd Battle of the Aisne, which was launched on 27 May and officially ended on 4 June. Like its predecessors that Spring, an offensive which had started with startling territorial gains had almost ground to a halt by the time that the 2nd Division, and thus the marines, were called in to assist the French Sixth Army in holding the line and in retaking, where possible, crucial positions. What started out as preventing the Germans from breaking through the French lines and pushing on to Paris ended in a three-weeks long slogging match in and around Belleau Wood. It was on French General Duch ne's instigation that the woods were attacked; but in reality the marines could have just held the line and been satisfied with that. As it was, they were flung into action with little time to prepare. The fighting in Belleau Wood was extremely brutal and involved several attacks and counter-attacks; neither side was willing to yield an inch of the terrain of a feature that had local strategic significance, particularly to the Germans. Although the offensive locally here came to an end and the initial German threat in the area was nearly overcome, the focal point of the fighting moved to Villers Cotter ts, twenty-five kilometres north-east of Belleau. The Americans were not quite finished when Belleau Wood was finally captured, as the nearby village of Vaux was taken by an army brigade of the 2nd Division in a text book attack on 1 July. The USMC has always had a good publicity machine' and Belleau Wood was certainly well known to the wider American public in the war years, particularly as it was an early action by a formation of the AEF. Although largely forgotten since the Second World War - the memory perhaps kept alive by the unusual preserved remnant of the battlefield, Belleau Wood's reputation has been enhanced by increased interest in the war since the turn of the century. Nowadays, the battle is sometimes called a pivotal event in the First World War and an iconic battle in US Marine Corps history' by several American authors, which some of their European counterparts might regard as somewhat exaggerated. Although there have been several guide books on Belleau Wood published in recent years (a clear indication of American interest in the battle today), what differs in this book is the number of points to visit as well as the clear narrative that precedes the tours section. Not only are many new points of interest explored in Belleau itself, but the surrounding countryside is not forgotten. Headquarters, temporary burial sites and other features are included. The book is profusely illustrated by contemporary photographs and numerous maps, the narrative supplemented by a number of first hand accounts; the whole is supported by several walking and car tours. This is the latest in a series of Battleground books by Maarten Otte on the American Expeditionary Forces, with several more in preparation. The AEF's performance in the war is relatively little known, not least in the USA; Belleau Wood is one of the few engagements that still carries some resonance. It is fortunate that so many of the AEF's actions took place in parts of France that have seen little development and are in agricultural or wooded country, which means that traces of their fighting are relatively plentiful.

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Walk! Costa Blanca Mountains includes 37 fully detailed walking route itineraries. Each walking route itinerary includes:- - walking route summary - ratings for Effort, Time, Distance, Ascents/Descents, Refreshments and Vertigo risk - fully detailed walk description, including frequent timings to aid navigation and check your progress - GPS Waypoints at every key point on every route where there is good gps reception - full colour 1:40,000 scale map of the route - short walk and stroll alternatives There are some easy routes. There are some challenging routes for fit experts. With Charles Davis' excellent walk descriptions you'll know which routes are for you - and all of them are a true adventure. Contents The Author INTRODUCTION: Climbing Into Cliche; a Better Costa Blanca The Terrain, Castles, Arcs & Karst , Pathways to Pleasure, Valls & Sierras Using GPS in the Costa Blanca Symbols Rating Guide Map Information THE WALKS. SIERRAS 1 Xalo: PR7 Serra de Bernia 3 walker, 2.5 hrs, 7.9 km, ascents & descents 260 metres (circular). 2 Polop: Monte Ponoig 4 hrs, 9.3 km, ascents & descents 770 metres (linear) 3 Finestrat: Puig Campana 4 hrs, 10.1 km, ascents & descents 1020 metres, vertigo warning (circular). 4 Finestrat: Barranc de Sacarest 3 hours, 10.2 km, ascents & descents 545 metres (circular). 5 Sella: SL112 La Ruta del Aigua 1.5 hrs, 6.3 km, ascents & descents 200 metres (circular). 6 Sella: Barrancs del Xarquer and Arc 3.75 hours, 13 km, ascents & descents 400 metres (circular). 7 Confrides: Castell de Confrides 1 hr, 3.2 km, ascents & descents 130 metres (linear or circular). 8 Confrides: Cumbre de Aitana from Font de l'Arbre 3 hrs, 11 km, ascents & descents 450 metres (circular). 9 Benifato: Cumbre de Aitana from Font de Partagat 3.2 hrs, 10 km, ascents & descents 450 metres (circular). 10 Benimantell: Penyo Mulero 2.75 hrs, 10.7 km, ascents & descents 500 metres (circular). 11 Benimantell: Barrancs del Salt, Xarquer & Arc 3.5 hrs, 12.6 km, ascents & descents 500 metres (circular). 12 Benasu: El Recingle Alt 3 hrs, 11.5km, ascents & descents 500 metres (linear). 13 Quatredonteda: Els Frares (a) via Cami del Carrascal 50 mins one-way, 2.2 km one-way, ascents & descents 345 metres (linear). (b) via Cami des Clots 2.5 hrs, 6 km, ascents & descents 375 metres (linear). 14 Fageca: PR182 Pla de la Casa- Plus alternative access from the south 4.7 hrs, 9.4 km, ascents & descents 565 metres (circular). 15 Famorca: Little Wolf - Mallada del Llop 3.5 hrs, 7.5 km, ascents & descents 580 metres (linear). 16 Famorca: Big Wolf - Barranc de la Canal, Mallada del Llop, El Regall 4.3 hrs, 10.3 km, ascents & descents 660 metres (circular). 17 Castell de Castells: PR149 El Castellet 2.8 hrs, 8.5 km, ascents & descents 540 metres (circular). 18 Castell de Castells: Cumbre de Aixorta and Els Arcs 5.5 hrs, 20.8 km, ascents & descents 845 metres (circular). 19 Tarbena: PR145 Parelles and Serrals via Font dels Olbis 3.5 hrs, 13.5 km, ascents & descents 450 metres (circular). 20 Bolulla: Tour of Raco Roig 2.5 hrs, 7.4 km, ascents & descents 250 metres (circular). 21 Orxa: Serra La Safor and Raco del Duc 6.3 hrs, 18.4 km, ascents & descents 730 metres (circular). 22 Orxa: Cim de la Safor 1.7 hrs, 6.3 km, ascents & descents 320 metres (linear). LES VALLS 23 Vall de Planes: Barranc de l'Encantada 40 mins one-way, 2.3 km one-way, ascents & descents 100 metres (linear). 24 Vall de Gallinera (Benissili): Castillo de Benissili 1.8 hrs, 6.3 km, ascents & descents 315 metres (circular). 25 Vall de Gallinera (Benissiva): La Forada Linear: 1 hour one-way, 2.5 km one-way, ascents & descents 224 metres. Circuit: 2.75 hrs, 10.5 km, ascents & descents 300 metres. 26 Pego: Refugio de la Figuereta 2.25 hours, 7.35 km, ascents & descents 445 metres (circular). 27 Vall d'Alcala: Alcala de la Jovada to Es Pouet 3.3 hrs, 15.3 km, ascents & descents 340 metres (circular). 28 Vall d'Ebo: Travessia del Masset 2 walker, 1.3 hrs, 4.7 km, ascents & descents 210 metres (circular). 29 Tormos: Sender dels Pintors 2.25 hrs, 3.8 km, ascents & descents 300 metres (circular). 30 Tormos: Sender dels Poets 2.5 hrs, 8.6 km, ascents & descents 380 metres (linear). 31 Vall de Laguar (Fleix): PR147 La Catedral del Senderisme 3.75 hrs, 13.5 km, ascents & descents 845 metres (circular). 32 Vall de Laguar (Fleix): Barranc dels Racons 3.75 hrs, 11.5 km, ascents & descents 450 metres (circular). 33 Vall de Laguar (Campell): Presa d'Isbert & Barranc del Moro 2 hrs, 5.2 km, ascents & descents 285 metres (circular). 34 Vall de Laguar (Campell): Cavall Verd - the conventional circuit 2.5 hrs, 7. 6 km, ascents & descents 315 metres (circular). 35 Vall de Laguar (Benimaurell): Cavall Verd - the western loop 2 hrs, 6.6 km, ascents & descents 246 metres (circular). 36 Vall de Pop (Parcent): PR158 Sender de Parcent 4 hrs, 14.1 km, ascents & descents 700 metres (circular) 37 Vall de Pop (Pla de Petracos), Serra l'Alfaro and Barranc de Malafi 6 hrs, 20.5 km, ascents & descents 530 metres (circular). Gps waypoint files for all the walking routes are available as a free download from the Discovery Walking Guides website.

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It was supposed to be fun. Six teenagers and their British captain aboard the ketch Crosscurrent Voyager, headed on a senior year summer cruise to excitement and adventure. Then the world as they knew it ended. A plague spread throughout the globe, killing millions and turning the survivors into cannibalistic rage monsters—zombies, in so many words. Only by putting aside their differences were the young crew able to survive. Now, they seek others like them, those fortunate souls who have made it through the zombie apocalypse. After all, maybe it's not the end of the world so long as GPS can help survivors navigate deadly terrain, to link up, and maybe—just maybe—ensure the continuation of the human race. But the Earth’s GPS systems are failing. It falls to those aboard the Crosscurrent Voyager to keep the unthinkable from happening. In order to do so, they must traverse dangerous seas to a European Space Agency complex in French Guiana. And thousands of infected stand in the way. If they succeed, humankind has a chance of rebuiling. If they fail, humanity may well be at the end of its journey. About Charles E. Gannon: “The plot is intriguing and then some. Well-developed and self-consistent; intelligent readers are going to like it.”—Jerry Pournelle "Chuck Gannon writes the kind of science fiction we all grew up on: rousing, mind-expanding, pulse-pounding sagas of spaceships and aliens. He's a terrific writer, and we're lucky to have him."—Robert J. Sawyer "[A] strong [writer of] . . . military SF . . . [much] action going on in his work, with a lot of physics behind it. There is a real sense of the urgency of war and the sacrifices it demands."—Locus About the Black Tide Rising series: “Not only has Ringo found a mostly unexplored corner of the zombie landscape, he's using the zombie frame to tackle a broader theme: the collapse and rebirth of civilization. The zombie scenes are exciting, sure, but its the human story that keeps us involved. A fine series.”—Booklist “Ringo combines humor and horror in this strong series debut, the thinking reader’s zombie novel.”—Publishers Weekly on Under a Graveyard Sky About the work of Charles E. Gannon: Caine's Mutiny: “This is military science fiction the way it’s supposed to be written. . . . All in all, a highly satisfying tale of the Terran Republic that moves the story forward and sets us up for the next chapter, which promises to be interesting at worst and explosive at best.”—SFcrowsnest Raising Caine: “Raising Caine unveils a lot of thought-provoking ideas but ultimately this is a space opera adventure. There are space battles, daring emergency landings, desperate quests, hand-to-hand combat, and double-and-triple crosses. It’s an engrossing read. You owe it to yourself to read the two previous books in order. Then enjoy Raising Caine. It’s an intergalactic thrill-ride.”—Fantasy and Science Fiction Book and Audiobook Reviews “This is science-fiction adventure on a grand scale.”—Kirkus “Gannon’s harrowing . . . military space opera (following Trial by Fire) builds well on his established setting . . . Gannon’s signature attention to developing realistic alien worlds makes this installment satisfying.”—Publishers Weekly “[A]n incredibly active book . . . as our protagonists are confronted by the beautiful, terrible, and sometimes lethal variety of the universe and its inhabitants. . . . a whole mess of fun . . . that manages to be scientifically accurate while refraining from excessive wonkiness. Those who value meticulous world-building . . . will certainly have their needs met.”—BN Sci-Fi and Fantasy Blog Nebula-nominated Trial by Fire: “I seriously enjoyed Trial by Fire. This one’s a tidal wave—can’t put it down. An excellent book.”—Jack McDevitt “Gannon's whiz-bang second Tales of the Terran Republic interstellar adventure delivers on the promise of the first (Fire with Fire). . . . The charm of Caine's harrowing adventure lies in Gannon's attention to detail, which keeps the layers of political intrigue and military action from getting too dense. The dozens of key characters, multiple theaters of operations, and various alien cultures all receive the appropriate amount of attention. The satisfying resolution is enhanced by the promise of more excitement to come in this fascinating far-future universe.”—Publishers Weekly, starred review “[D]efinitely one to appeal to the adventure fans. Riordan is a smart hero, up against enormous obstacles and surrounded by enemies. Author Gannon does a good job of managing action and tension to keep the story moving, and the details of the worlds Riordan visits are interesting in their own right.”—Analog “[O]ffers the type of hard science-fiction those familiar with the John Campbell era of Analog Science Fiction will remember. Gannon throws his readers into an action-packed adventure. A sequel to Fire With Fire, it is a nonstop tale filled with military science-fiction action.”—The Galveston County Daily News Compton Crook Award winner for best first novel, Fire with Fire: “Chuck Gannon is one of those marvelous finds—someone as comfortable with characters as he is with technology, and equally adept at providing those characters with problems to solve. Imaginative, fun, and not afraid to step on the occasional toe or gore the occasional sacred cow, his stories do not disappoint.”—David Weber “If we meet strong aliens out there, will we suffer the fate of the Aztecs and Incas, or find the agility to survive? Gannon fizzes with ideas about the dangerous politics of first contact.”—David Brin “[T]he intersecting plot threads, action and well-conceived science kept those pages turning.”—SFcrowsnest Starfire series hit Extremis, coauthored by Charles E. Gannon: “Vivid . . . Battle sequences mingle with thought-provoking exegesis . . . ”—Publishers Weekly “It’s a grand, fun series of battles and campaigns, worthy of anything Dale Brown or Larry Bond ever wrote.”—Analog

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It is Brighton, 1959, and the theatre at the end of the pier is having its best summer season in years. Ronnie, a brilliant young magician, and Evie, his dazzling assistant, are top of the bill, drawing audiences each night. Meanwhile, Jack – Jack Robinson, as in ‘before you can say’ – is everyone’s favourite compère, a born entertainer, holding the whole show together. As the summer progresses, the off-stage drama between the three begins to overshadow their theatrical success, and events unfold which will have lasting consequences for all their futures. Rich, comic, alive and subtly devastating, Here We Are is a masterly piece of literary magicianship which pulls back the curtain on the human condition. 'One to watch for 2020' according to:The Sunday Times The TimesThe Daily Telegraph The Guardian Financial Times Evening Standard The Scotsman The Irish Times 'He tells simple, truthful stories about what feel like real people. Here We Are is a welcome addition to a proud legacy.' The Big Issue The variety of voices and its historical and emotional reach are so finely entwined, it is as perfect and smooth as an egg. Passages leap out all the time, demanding to be reread, or committed to memory... It is perhaps too simple to say that Swift creates a form of fictional magic, but what he can do with a page is out of the ordinary, far beyond most mortals’ ken.' Rosemary Goring,The Herald'Here We Are is a subtle portrait of a vanished world, with moving passages about the problems of wartime evacuees returning to impoverished London life after the wonders of the countryside.' The Independent ‘In Here We Are, Swift does not just dwell on the pivotal moments of our lives, but traces their shockwaves both forward and back. Moving seamlessly from pre-war to post, from the events of one illusory, youthful summer to the present, we are given candid access to the innermost reflections of three people who loved and betrayed each other. The end result is the stuff of life, an enduring mystery that Ronnie, Evie, Jack - that we all - must live with. I thought it was wonderful.’ Joseph Knox, author of Sirens‘As with all his books, it’s the moments of quiet, undramatic poignancy that stay with you’ Sunday Express‘a quietly, devastating, magical novel’ Telegraph‘With a wizardry of his own, Swift conjures up an about-to-disappear little world and turns it into something of wider resonance’ Sunday Times ‘We are propelled into something extraordinary…Swift’s closing account of a mundane world momentarily pierced by a shaft of numinous mystery is magnificent’ New York Times ‘Graham Swift has perfected a distinctive style…his beautiful new novel Here We Are…is a work of magic: neither trick nor illusion, but a flash of truth’ Wall Street Journal ‘Swift captures the tragicomedy of life’ Washington Post ‘Here We Are is a paragon of the magic of compressed narration…Once again, Swift has demonstrated wizardry in his ability to conjure magic out of ordinary lives' NPR USA ‘ ‘“Here we are.” How easily those three small words can vanish in expected niceties—and how loaded they can be with bewilderment at the inexorable ‘‘tilt of the world’’. Graham Swift conjures them all, and more, in this short, word-perfect novel' Sydney Morning Herald ‘Graham Swift is the quiet master of fiction' The Age, Melbourne ‘An ethereal foray into the vanishing world of the magician…beautiful, breath-taking and heart-wrenching' Australian Women’s Weekly ‘In 2016 with his book Mothering Sunday Graham Swift reached a high plateau of storytelling art...Graham Swift‘s new novel Here We Are is on the same high plateau as Mothering Sunday' Süddeutsche Zeitung, Germany ‘The beauty of Graham Swift‘s books is that he gives you what you want without your knowing that you wanted it. How does he achieve this magical feat? It remains his secret. What a magician' Tagesspiegel, Germany ‘Swift is a master of the nuance and the hint, of what remains unsaid. In this respect a novel about magic and illusion seems exactly the right terrain for him...Once again he proves that he is one of the great conjurers of contemporary literature' Wiener Zeitung, Austria ‘Swift employs an unadorned but intense, musical prose that bathes the events described in an elusive gleam…Not for the first time Graham Swift captures the magic and mystery of ‘ordinary’ lives' Het Parool, Netherlands ‘The author knows, as always, how to render the human condition with a light touch… To catch the magic of life in words: an undertaking Graham Swift has mastered like no one else' De Telegraaf, Belgium ‘Swift doesn’t write, he whispers. His work is characterised by stories of ordinary life that, thanks to his mediation, always reveal a universal dimension…Here We Are is yet more proof of his incredible soft-voiced technique…a perfect example of Swift’s ability to touch the hidden poetry in every human being' Corriere della Sera, Italy It is one of those wonderful tales that one could have read fifty years ago or discovered half a century hence with the same delight, one of those novels of timeless beauty—thanks to the art of Graham Swift, who has no equal in evoking the atmosphere of an era while probing human psychology with irony and tenderness' L’Express, FrancePraise for Mothering Sunday: 'Bathed in light; and even when tragedy strikes, it blazes irresistibly… Swift’s small fiction feels like a masterpiece’ Guardian ‘Alive with sensuousness and sensuality … wonderfully accomplished, it is an achievement’ Sunday Times ‘From start to finish Swift’s is a novel of stylish brilliance and quiet narrative verve. The archly modulated, precise prose (a hybrid of Henry Green and Kazuo Ishiguro) is a glory to read. Now 66, Swift is a writer at the very top of his game’ Evening Standard ‘Mothering Sunday is a powerful, philosophical and exquisitely observed novel about the lives we lead, and the parallel lives – the parallel stories – we can never know … It may just be Swift’s best novel yet’ Observer

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In 2013 my wife, Jeanne, and I, she in her late sixties, I in my early seventies, set out to fulfill our long held dream of living in the woods for a year. Before leaving our home in the Eastern Townships of Quebec, I contacted the editors of Tempo, the monthly news magazine in the Town of Lac Brome (which I will refer to as “Lac Brome”), to enquire whether they would be interested in receiving reports of our progress in the endeavour. They said, “Yes.” This book is based upon those articles. My original intention was to produce a work echoing the objectives of Thoreau who, in addition to describing his daily life in his chosen wilderness, commented on the mores and politics of his time in his Walden. However, each time that I penned such a commentary, I realized that it detracted from the essence of our experience. The reaction to the Tempo articles proved that the unfolding of the tale of our daily lives was all that was required to engender intense interest and comment. Thus this memoir has to do exclusively with living in the woods. How It All Began We arrived in the mid-afternoon of June 15, 2013. The car and trailer were loaded to the gills. Scooter, our cat, lay sedated in her cage. She does not like to travel and hates being in her cage. She, particularly, does not like the movement of the car if we are going over any sort of bump, bumps being inevitable on the thirty-five km of forestry roads we take once leaving the highway in La Tuque. The unloading of our stuff and the carrying of it to the cabin was a major effort, all being by packsacks, boxes and bags. The parking spot on the track in is 350 m from the cabin. I made ten trips, thus round trips totaling 7,000 m, 3,500 of them loaded. We had decided that to be true to our wilderness endeavor, we would not have a road excavated to the cabin. The ground, as was discovered during the building process, is too rough for anything other than a high clearance ATV (all-terrain vehicle). The track, from where we park the truck, which leads to the cabin, is a series of drops over rock ledges. Given the nature of the ground and that the ATVs and their trailers were generally fully- loaded, it was not surprising that two of them were wrecked during the building process. The carrying of immediately required articles and food accomplished, we then indulged in a soothing swim and returned to the cabin as enthused and as excited as newlyweds. We opened a bottle of wine on the west-facing balcony, watched the sun set and rejoiced to see a pair of loons on the lake. Supper, then bed, exhausted but exhilarated. ******************** For about as long as I have known Jeanne she has wanted to spend an entire year, three hundred and sixty-five consecutive days, in the woods. This is not motivated by a desire to be a hermit or because she is anti-social. To paraphrase Montaigne, she is quite content living a private life but that does not mean that she is unsuited to a public one. After all, she insisted, it is only for one year. When I asked, “Might it be that you would never come back?” she answered, “It’s only for a year.” I should immediately add that this was not to be a year alone. Jeanne insisted that I was part of the plan and was to go with her. I like to think that this was because she loves me but if that was only part of the reason, for she would need a hewer of wood and fetcher of water, a man servant in the general sense, then I was content, for I need looking after myself and our lives have been inter-dependent since the day of our marriage which was over fifty years ago. Our adult lives have been outwardly quite normal. I am a lawyer specializing in maritime law, meaning having to do with ships. Jeanne has been a school teacher, first at Westhill High School and then at the Convent of the Sacred heart, both in Montreal. She then embraced her childhood dream of being a ballet dancer, which lead to her becoming a choreographer, teacher and performer of dance, first on the teaching staff of les Ballets Jazz de MontrÉal, then as owner of le Centre de Dance Jeanne Marler, which included an annual, international, two-week dance seminar with closing performance, called Focus on Jazz. It attracted aspiring pre-professionals from around the world. At a certain point, she decided that if she could no longer physically perform the dance movements at the level which she had attained in her performance career, it was time to move on. She obtained a diploma from the New York School of Interior Design and embarked upon that profession until she found it too commercially driven, the demands of the clients too often conflicting with Jeanne’s sense of what was artistically and/or practically appropriate. She then opened a performing and fine arts camp for children and adolescents, set in the pristine hills and woods of Vermont, which she ran with great success for three years, until the property which she had leased became no longer available, due to the owner’s intention to build a hotel on the site. In the mid-nineteen-nineties she turned to painting. Her sketches, oil paintings and photography illuminate this book. “But why in the woods?” many asked. Most Canadians think of going south rather than north for vacations or retirement. Only Jeanne might properly be able to answer that question. She is a spiritual person, very much in the Celtic tradition. When we go to the woods she becomes very quiet. On family vacations to wilderness locations, the children used to say, “That’s it for talking to Mum. She will turn into a rock or a mushroom or something for as long as we are here”. And so it was. On our departures from such places she often cried. We asked, “What’s the matter?” There would be no answer. I think it had and has simply to do with leaving places where her spirit finds its natural home.

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