The purpose of this book is to explore the ways in which the London Underground/ Tube was "mapped" by a number of writers from George Gissing to Virginia Woolf. From late Victorian London to the end of the World War II, "underground writing" created an imaginative world beneath the streets ofLondon. The real subterranean railway was therefore re-enacted in number of ways in writing, including as Dantean Underworld or hell, as gateway to a utopian future, as psychological looking- glass or as place of safety and security. The book is a chronological study from the opening of the first underground in the 1860s to its role in WW2. Each chapter explores perspectives on the underground in a number of writers, starting with George Gissing in the 1880s, moving through the work of H. G. Wells and into the writing of the1920s and 1930s including Virginia Woolf and George Orwell. It concludes with its portrayal in the fiction, poetry and art (including Henry Moore) of WW2. The approach takes a broadly cultural studies perspective, crossing the boundaries of transport history, literature and London/urban studies. It draws mainly on fiction but also uses poetry, art, journals, postcards and posters to illustrate. It links the actual underground trains, tracks andstations to the metaphorical world of "underground writing" and places the writing in a social/political context.

Ime Albert holds an honorary doctorate degree in business administration from Evangel University, Springfield, Missouri, USA. He is a successful Nigerian businessman and politician. He holds a Bachelor of Arts degree in theatre arts from the University of Calabar, Calabar, Nigeria. He is a born-again Christian author, poet, novelist, and philosopher. He is a reformed Christian vessel in the hands of the Lord. He is a philanthropist extraordinaire with a very large heart. He is married to Patricia, and the marriage is blessed with three children: Roland, Rachael, and Rhema. He is indeed a blessed man. STEPPING INTO THE WILDERNESS is a poetic expression of the travails, troubles, agonies, and sweetness of life. It is an intellectual expression drawn from real-life situations. It explains real-life events, people, places, as well as the propelling forces of life, which are controlled by Almighty God and Satan. This book reveals the true nature of man, the very gifts, talents, and potentialities that make the human race a rich base of incredible resources – bottled in the providential wealth of divinity. The fundamental truth as revealed by the trends captured in this work shows Almighty God not only as wonderful but as the most powerful source of wealth, fame, and riches. He is also the author of No Love Lost (A Trilogy), The Fury of God also Best Parents, Worst Couples, and The Rich, The Famous, and The Blessed, all contemporary classics. "THE BEAUTIFUL ANGEL" the extract shown in this book is a radiant work of my late son Richmond Ime Albert, who died on the 22nd of May 2011. He was aged 16 years, and was a Student of Bridge Water Independent School. He was diagnosed of Cadiomyopathy, a heart vessel disease on the 10th of April 2011, and was admitted in the hospital in England but was later discharged two week later and certified to be okay, but two months later he died in sleep. He was particularly in love with Arsenal Football Club of London. May his gentle soul rest in the bosom of our lord.

Exploring a prominent digital mythology, this book proposes a new way of viewing both online narratives and the online communities which tell them. The Slender Man – a monster known for making children disappear and causing violent deaths to the adults who seek to know more about him – is used as an extended case study to explore the role of digital communities, as well as the question of the existence of a broader “digital culture”. Structural anthropological mythic analysis and ethnographic details demonstrate how the Slender Man mythology is structured, and how its everlasting nature in the online communities demonstrates an importance of the mythos.

Surveying an unusually wide variety of material, ranging from the Victorian triple-decker novel, to Modernist art and architecture, to Pop music and graffiti, this book suggests that the tube-network is a transitional form, linking the alienated spaces of Victorian England to the virtual spaces of our contemporary consumer-capitalism.