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Anthony Collings found himself in his share of difficult situations in his thirty-four years as a newsman. Like being captured by AK-47–toting Syrians in Lebanon in 1981 while looking for missiles that threatened a new outbreak of hostilities with Israel, or being \"detained\" by the KGB in Moscow in 1967 during his first foreign posting for the Associated Press filing stories about Soviet dissidents. Name a hot spot, and Collings has likely been there. From AP correspondent to Newsweek bureau chief to CNN reporter, he covered the Middle East, Rome, Moscow, London, Paris, and Washington. Now he has gathered stories about his work in a book that is both a journalist's memoir and a commentary on the current ethical crises in the news media and how to address them. Brimming with entertaining stories about journalism, especially the chaotic early years at CNN when he and his colleagues established the first major cable news network, Collings's book reveals the dangers and pressures of covering the news and the difficulties of overcoming obstacles to the truth. He recalls smuggling tapes out of Poland after the Communists had imposed martial law; flying dangerously near Libya's \"Line of Death\"; interviewing world figures from Brezhnev to Kaddafi and Arafat; and winning awards for covering Iran-Contra and the Oklahoma City bombing. Collings brings fresh insights to the Oliver North affair and examines how the press was suckered in its coverage of the Jessica Lynch prisoner-of-war story in 2003. He voices his concerns regarding oversimplified reporting of complex issues and poses provocative questions about covering terrorism. In this book, Collings presents an insider's appraisal of the American news media's failings and accomplishments. Easy to read, informative, and thoughtful, Capturing the News will enlighten general readers interested in how journalists cover current affairs, while offering newsmen food for thought about the craft and ethics of journalism.

Collings, Anthony. Words of Fire: Independent Journalists Who Challenge Dictators, Drug Lords, and Other Enemies of a Free Press. New York Univ. Jul. 2001. c.288p. permanent paper. photogs. bibliog. index. ISBN 0-8147-1605-9. $28.95. COMM

Winter Park (3-0) is still without senior QB J.P. Colton, but backup Nick Sproles has performed well going into Friday's Class 8A, District 3 opener at Orlando University (2-1).

Senior Gray Malias notched 21 kills Wednesday, leading host Bishop Moore, No. 2 in the Sentinel's Super Six, to a major upset over No. 1 Winter Springs 3-1 (25-10, 25-21, 25-27, 25-17).

[Joey Rodriguez], a 5-foot-11 point guard, said Port St. Lucie forward Larry Sanders (6-9) also committed on his visit to VCU on Saturday. [Anthony Grant], who took the VCU top job after 11 seasons at UF, already had secured commitments from Lance Kearse (6-5) of Fort Myers and Myk Brown (6-4) of Gainesville P.K. Yonge.

The Brolgas have been forced into a host of changes up front after prop Anthony Belsey (calf) and backrowers Gavin Whiteside (collarbone), Matt Fraser (ankle) and Ben Collings (ankle) were casualties of last week's 45-0 thrashing of Mackay. [Tony Carter] said memories of last year -- when [Cairns] dumped Townsville out of the state championship with a 34-0 win at Hugh Street -- would serve as some motivation for the Brolgas tonight. Townsville squad to play Cairns: Scott O'Neill, Alphonse Gima, Aaron Davis, Fran Lando, Bronsen Mitchell, Sean Bell, Pat Hegarty, John Moore, Will Andersen, Dean King, Dan Staley, [Nick Davidson], [Chris Barlow], Brendan Bunyan, [Dean Stallard]. Reserves: Bill Halls, [Richie Katter], [Chris Grant], Andrew Hiatt, Terry Poole, Zane Mitchell, Shane Craw.

[Lee Collings] and [Susan Tuckerman] from Murton, County Durham, were married on November 24 at Holy Trinity Church, Murton. Their reception was held at The Glebe Centre, Murton. Photography by Astral Photography (0191) 455-8190. [Neil Harvey] and [Lindsey Canlon] from Sunderland were married on October 14 at St Peter's Church, Harrogate, North Yorkshire. Their reception was held at Rudding Park, Harrogate. Photography by Astral Photography (0191) 455-8190.

In the TV programme the US abstract artist Ken Noland, now in his eighties, is asked what he thinks of [John Latham]'s 1960s assault on Art and Culture - Noland is an artist whose work [Clement Greenberg] fiercely championed. He says he thinks it was hateful. I found myself agreeing. However, this work of Latham's from the very beginning of the decade is surprisingly lovely as art. Its shapes are nice. There's a nice passage of yellow, where he's painted the inside of some of the books. The yellow is lovely against the buff of the un- primed flax-canvas and the blue-ish white of the plaster. You can't possibly work out what on earth he thinks the meaning of Film Star is supposed to be, but everything's arranged very pleasingly according to classic Cubist good-arrangement principles, or classic 1950s abstract painting - the books don't quite fill up the canvas, there's space to breathe. In fact it operates according to all sorts of Greenbergian good- taste principles. We know Richard Hamilton is a great guru of Pop. He led a style rebellion against old-fashioned gentlemanly tastefulness in British art. Does he deserve his reputation as something special? $he, which he reworked between 1958 and 1961, achieves a certain visual quality that exists in the type of modern art he's parodying. This quality is pleasure in the play of curving abstract contours and divided-up space. It's a kind of space that forces you to notice that it is discontinuous. Picasso does the same space- jump thing and so does Kandinsky. With Picasso it's in a context of lovers and still-lifes and harlequins and cavaliers. With Kandinsky the imagery refers to nature - clouds, mountains and so on - but it's a schematised highly abstracted version of nature, not perceived but imagined, and so extremely abstracted that it's hardly imagery at all any more. With Hamilton it's a sneering imagery of toasters and fridges and pin-up girls. Only he presents these image-fragments in a spare, elegant way, with sophisticated, paired-back colour. These are just the sort of pseudo- \"qualities\" that were the stock in trade of advertisers in the Fifties. But Hamilton spins them in a way that turns them into something visually great rather than sleazy. Another Hockney masterpiece - this is Man in Shower in Beverley Hills (1964). The painting is about the creation of different kinds of space through various kinds of flatness. A graphic quality is contrasted with free painterliness. A naked man bends over in a shower. There's a wall of tiles in grey. Brightly coloured furniture is seen far away. Maybe it's a glimpse through a hatch. The body is very painterly, very smudgy, with different tones blended roughly into each other. Also enjoyable is the surprise way that the water plops onto the shower floor in little stylised scooped forms. This all sounds a lot, but the overall feel of the painting, which is large, is of a marvellous economy. There's a big black silhouette of a potted plant in the foreground. It's strangely threatening, since the leaves are so phallic. How does Hockney's fantasising work? The painting is erotic everywhere, like Manet is erotic - everything has undertones. They seem both deliberate and unconscious. Those chairs in the background make you think of sitting, so you come back to bottoms and that pot plant. There's something terrific about the one broken tile. It breaks the logic of the whole tile-pattern loveliness that dominates the painting. It's like a rule of pattern in visual art: repetition and variation. You set up something and then insert a quick surprise - which might return us to, well, no need to spell it out again.