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A remarkable and bold novel that interweaves the lives and loves of three very different London men across the decades.
12 May 1940. Westminster, London, England: the early days of World War II. Again. Raybould Marsh, one of "our" Britain's best spies, has travelled to another Earth in a desperate attempt to save at least one timeline from the Cthulhu-like monsters who have been observing our species from space and have already destroyed Marsh's timeline. In order to accomplish this, he must remove all traces of the supermen that were created by the Nazi war machine and caused the specters from outer space to notice our planet in the first place. His biggest challenge is the mad seer Gretel, one of the most powerful of the Nazi creations, who has sent a version of herself to this timeline to thwart Marsh. Why would she stand in his way? Because she has seen that in all the timelines she dies and she is determined to stop that from happening, even if it means destroying most of humanity in the process. And Marsh is the only man who can stop her. Necessary Evil is the stunning conclusion to Ian Tregillis's Milkweed series.
"There is much to like about a book which gets real about the male anus as a site of penetrability which is not reducible to discourses of feminization, phallicization or psychosis. With real panache and poetic flair, it returns us to an earlier moment in queer theoretical discourse we would associate with Lee Edelman's Homographesis (easily the best book ever written in queer theory and every page of The Penetrated Male reminded me of it), Calvin Thomas' Male Matters, and Leo Bersani's "Is the Rectum a Grave?" Given the recent squeamishness ... in queer theoretical circles about shit, anality, and penetrability, there is real value (and it is not some sort of nostalgia for an earlier moment we might want to get back to) in this book which never shies away from any of these matters. As embodied and eroticized theory, it fills a much needed hole in contemporary discourse about the male body. It is a book I should like to have written." (Michael O'Rourke) Through nuanced readings of a handful of modernist texts (Baudelaire, Huysmans, Wilde, Genet, Joyce, and Schreber's Memoirs), this book explores and interrogates the figure of the penetrated male body, developing the concept of the behind as a site of both fascination and fear. Deconstructing the penetrated male body and the genderisation of its representation, The Penetrated Male offers new understandings of passivity, suggesting that the modern masculine subject is predicated on a penetrability it must always disavow. Arguing that representation is the embodiment of erotic thought, it is an important contribution to queer theory and our understandings of gendered bodies.
FROM THE WINNER OF THE AUTHORS' CLUB BEST FIRST NOVEL AWARD When 64-year-old Grace Wellbeck thinks she sees the ghost of her first husband, she fears for her sanity and worries that she's having another breakdown. Long-buried memories come back thick and fast: from the fairground thrills of 1950s Blackpool to the dark reality of a violent marriage. But the ghost turns out to be very real: a charismatic young man named Luke. And as Grace gets to know him, she is jolted into an emotional awakening that brings her to a momentous decision. Drawing on a brilliant literary tradition of madness, incarceration and escape, Jonathan Kemp delivers the triumphant coming of age of a woman in her sixties.
"A study of Netherlandish triptychs from the early fifteenth century through the early seventeenth century, covering works by Jan van Eyck, Rogier van der Weyden, Hugo van der Goes, Hieronymus Bosch, and Peter Paul Rubens. Explores how the triptych format structures and generates meaning"--Provided by publisher.
The relationship between government and the businesses that contribute towards the defence and security of the state is a critical one; it often underscores a modern state’s foreign policy and sense of place in the world. Yet, despite its clear importance, this subject is underexplored and rarely analysed in a rigorous manner. As a consequence, government defence industrial policies, if they exist at all, often seem somewhat contrived, ill-considered and contradictory. The Defence Industrial Triptych systematically analyses the components and drivers of the relationships that bind a government to its defence industrial base by examining three major case studies: the UK, US and Germany, who between them account for over three quarters of NATO defence spending. The features of their defence industrial relationships –whether common or unique – provide vital lessons for policy-makers, industrialists and the taxpayer. As defence cuts bite across NATO and as the UK approaches the 2015 Strategic Defence and Security Review, the relationships this Whitehall Paper considers are more important than ever.
The Portuguese visual artist Paula Rego has inspired this trilogy of plays. Her paintings Crivelli’s Garden, The Prey and Breaking China became the catalyst for writing by theatre maker Fiona Graham. Commissioned by Theatre Centre and Komedia, these three new plays were developed for specific audiences through a series of artist/audience residencies and collaborations. These works have toured Britain and been re-staged in Portugal and Singapore. Crivellis’s Garden was created for a 16+ audience and explores rites of passage as two young women decide whether they should stay or leave their fishing village to go to university in Portugal. Between Friends is for 7 -11 year olds and examines the politics of friendship between three young people when they are shipwrecked and abandoned in a lighthouse. Breaking China is for 4-8 year olds and shows the importance of creative play and storytelling when making sense of change and adversity. About the author DR FIONA GRAHAM Fiona teaches dramaturgy at Goldsmiths University. Previously she spent over a decade in New Zealand writing and teaching at Auckland University. Her plays include: Passage (The Herald Theatre, Auckland 2010), Breaking China (Theatre Centre, 2002 and Singapore’s International Festival, 2004) and Legacy (for Massive Theatre Company, 1998). Most recently she worked as dramaturge with Otago University and Talking House Theatre Company on Be/Longing and Hush, with Red Leap Theatre Company on Paper Sky and Sea, with playwright Mei-Lin Hansen on The Mooncake And The Kumara, with Winning Productions on I Wanna Be -- Ponsonby and Carol Brown on 1000 Lovers and the Pah Collective. Her book Catalyst For Change: The Interventions of the Dramaturge was published in New Zealand in 2017. Reviews: ‘Graham’s poetically eloquent script flows like molten silver and should give students, teachers and other theatregoers much to think about’ (on Crivelli’s Garden) – The Stage ‘A prime example of how an excellent script innovatively directed and beautifully performed can be applied to a wide age range. This joyful production provides much food for thought.’ (on Breaking China) – The Stage