The Romantic Landscape is David Daviess first publication. David found the love of writing at a young age. Over the years, he is improving his style. In this collection of poems, David expresses through nature and landscape to bring to life his past relationships and his love for Northern Ireland, where it has been an inspiration. They hint at religious beliefs where sharing a life with a partner is the ultimate reason for living. They are playful and almost whimsical and with a humorous aspect. Davids poetry is a time machine that brings one back to a moment, which is to reminisce and holds sentiments over family celebration and memory.

Sir David and the Green Card maps a journey through the twists of today's U.S. immigration system, with all its surreal demands and medieval burdens. From a dark beginning in cold British traffic to the seared highways of California, these poems recount a ten-year quest for permanence and the motley characters - real and imagined - met along the way. Join a vibrant tour through machinery suspected-yet-unknown, a story of remaining human inside political scaffolding, and a scrutiny of the complex privilege of navigating it all as an English-speaker.

Dystopia is imagined through todays films as being savage, barren and vivid apocalyptic world, so seemingly distant from the world we live in; but this book portrays subtle realities of our world through a boy’s eyes where something else lurks only a slither of a veneer away. It is not necessarily about physical space; but also, a mental realm hinting at a boy’s mental state, as what I refer to as the ‘Apocalyptic Mind’. A boy so full of insecurities searching for love, dreams and a utopia, which conflicts with his way of life in a technological world. Through the love of Mother Nature David hints upon God, asking him ‘Why?’, which shows his frustration in a painful and confused world that gives no answers. Philosophy gives us liberty to write about the things we see and experience to try and make sense of the world, hinting at homelessness, guns and technology, David plays with these ideas so fictional and at points ludicrous, where he blends the real with the imaginary.

Davies explains that the belief in the special relationship between the land and people of Israel has been an integral part of Judaism from Biblical times

PHILOSOPHY OF THE PERFORMING ARTS “David Davies’s Philosophy of the Performing Arts is long-awaited. Not since Paul Thom’s For an Audience has a book in the Anglo-American philosophical tradition focused so clearly, exclusively, informatively, and fairly on all the performing arts. I will use this book in my classes.” James Hamilton, Kansas State University, author of The Art of Theater “In this outstanding philosophical study, David Davies subjects the different, conflicting literatures characterizing works, performances, and their relationships to critical review en route to developing his own integrated theory. Covering classical music to jazz, Shakespeare to Brecht, dance to performance art, this is essential reading for anyone interested in the performing arts.” Stephen Davies, University of Auckland, author of The Philosophy of Art Philosophical inquiry concerning the performing arts has tended to focus on music – specifically classical music – which is assumed to provide a model for understanding the performing arts as a whole. This book engages with this belief and critically explores how the “classical paradigm” might be extended to other musical genres, to theater, and to dance. Taking in key components of artistic performance – improvisation, rehearsal, the role of the audience, the embodied nature of the artistic performer – the book examines similarities and differences between the performing art forms and presents the key philosophical issues that they bring into play. These reflections are then applied to the disputed issue of those contemporary artworks usually classified as “performance art.” Assuming no prior knowledge of the subject matter, this book provides an accessible, yet sophisticated, introduction to the field and a comprehensive framework for thinking about the performing arts.

In this fast-paced, tightly woven espionage story, Chris Morehouse, a British contractor for the CIA, must intercept an assassin in Berlin. The shooter’s target: an Iranian nuclear scientist who wants to defect to the West. With minimal intelligence on the assassin—positioned somewhere in a specific high-rise—Chris must find and eliminate the threat. One split-second before the trigger-pull, Chris realizes the assassin is someone he knows . . . very well. He freezes in the gut-wrenching decision—save the defector and kill his friend, or fail in his mission and let the shooter go free—and then . . . In Mask of Deceit, David Davies takes readers on a journey that spans the globe from the United Kingdom to Germany, India to Greece, and the United States to Sweden. The plot weaves and spins, pitting intelligence agencies and spies against each other who all have one thing in common—deceit. Will Chris play the pawn and complete his mission, or will he let emotions rule?