I do not accept there is anything wrong with me. Days before her wedding Megan discovers she has a 50-50 chance of developing early onset Alzheimer's. Years later she's offered a genetic test. But if she's got the gene does she really want to know? Megan, 21. Megan, 47. Megan, 32. Megan, 27. One woman lurches through time while her young family deal with the consequences. I can't think. But I still feel. And most of the time I feel scared. Scared because it's too soon. I haven't finished yet. Plaques and Tangles by Nicola Wilson premiered at the Royal Court Theatre, London, in October 2015.

Home in British Working-Class Fiction offers a fresh take on British working-class writing that turns away from a masculinist, work-based understanding of class in favour of home, gender, domestic labour and the family kitchen. As Nicola Wilson shows, the history of the British working classes has often been written from the outside, with observers looking into the world of the inhabitants. Here Wilson engages with the long cultural history of this gaze and asks how 'home' is represented in the writing of authors who come from a working-class background. Her book explores the depiction of home as a key emotional and material site in working-class writing from the Edwardian period through to the early 1990s. Wilson presents new readings of classic texts, including The Ragged Trousered Philanthropists, Love on the Dole and Saturday Night and Sunday Morning, analyzing them alongside works by authors including James Hanley, Walter Brierley, Lewis Grassic Gibbon, Buchi Emecheta, Pat Barker, James Kelman and the rediscovered 'ex-mill girl novelist' Ethel Carnie Holdsworth. Wilson's broad understanding of working-class writing allows her to incorporate figures typically ignored in this context, as she demonstrates the importance of home's role in the making and expression of class feeling and identity.

Home in British Working-Class Fiction offers a fresh take on British working-class writing that turns away from a masculinist, work-based understanding of class in favour of home, gender, domestic labour and the family kitchen. As Nicola Wilson shows, the history of the British working classes has often been written from the outside, with observers looking into the world of the inhabitants. Here Wilson engages with the long cultural history of this gaze and asks how 'home' is represented in the writing of authors who come from a working-class background. Her book explores the depiction of home as a key emotional and material site in working-class writing from the Edwardian period through to the early 1990s. Wilson presents new readings of classic texts, including The Ragged Trousered Philanthropists, Love on the Dole and Saturday Night and Sunday Morning, analyzing them alongside works by authors including James Hanley, Walter Brierley, Lewis Grassic Gibbon, Buchi Emecheta, Pat Barker, James Kelman and the rediscovered 'ex-mill girl novelist' Ethel Carnie Holdsworth. Wilson's broad understanding of working-class writing allows her to incorporate figures typically ignored in this context, as she demonstrates the importance of home's role in the making and expression of class feeling and identity.

This book addresses the gap between print and digital scholarly approaches by combining both praxis and theory in a case study of a new international collaborative digital project, the Modernist Archives Publishing Project (MAPP). MAPP is an international collaborative digital project, funded by the Social Sciences and Humanities Research Council of Canada, that uses digital tools to showcase archival traces of twentieth-century publishing. The twenty-first century has witnessed, and is living through, some of the most dynamic changes ever experienced in the publishing industry, arguably altering our very understanding of what it means to read a book. This book brings to both general readers and scholarly researchers a new way of accessing, and thereby assessing, the historical meanings of change within the twentieth-century publication industry by building a resource which organises, interacts with, and uses historical information about book culture to narrate the continuities and discontinuities in reading and publishing over the last century.

This book addresses the gap between print and digital scholarly approaches by combining both praxis and theory in a case study of a new international collaborative digital project, the Modernist Archives Publishing Project (MAPP). MAPP is an international collaborative digital project, funded by the Social Sciences and Humanities Research Council of Canada, that uses digital tools to showcase archival traces of twentieth-century publishing. The twenty-first century has witnessed, and is living through, some of the most dynamic changes ever experienced in the publishing industry, arguably altering our very understanding of what it means to read a book. This book brings to both general readers and scholarly researchers a new way of accessing, and thereby assessing, the historical meanings of change within the twentieth-century publication industry by building a resource which organises, interacts with, and uses historical information about book culture to narrate the continuities and discontinuities in reading and publishing over the last century.

Late 18th century Ireland. Two women from noble families, Lady Eleanor Butler and Sarah Ponsonby, meet and form an intense romantic friendship. Against the will of their families - and overcoming many obstacles - they leave Ireland and settle at Plas Newydd. Here they become famous, as the Ladies of Llangollen.

As national governments cede society to international and soon-to-be intergalactic corporations, Sontem launches the Nexus and the Argus, two intergenerational starships sent as emissaries to the cosmos, but whose sole mission is to secure mining rights for the parent company. The ships are armed with the best of mankind's minds and technology, and a sense of manifest destiny. Captain Anderson Grant of the Nexus, the second starship in Sontem's budding armada, prepares to boldly fight and screw where no man has before. But Anderson and his crew struggle to maintain their humanity in the face of deception, exploitation, (sexually) aggressive aliens, and a system that ultimately respects its crew more for their genetic capacity than their individuality.

Humanity has been decimated by a violent new species that nests in any enclosed spaces, and slaughters everything unfortunate enough to come indoors. Mitch is a 'Wall Banger', an explosives expert who 'cracks' buildings, exposing them to air and sunlight to kill these invasive organisms. When a friend of Mitch's asks for help tracking down a murderer, Mitch recruits Cori, a 'Shadow Runner' who races through infested spaces to gather supplies and saleable loot. But this terrifying contagion isn't the only danger, as their world descends into a harrowing marathon against oversupplied militias, murderous gangs, self-righteous survivors, and all-out starvation.

It's a profitable time to be a bastard, one of the most profitable in history. Mark Dane intends to take full advantage of that and be the bastard at the top- if he can make his way past his fellow predators, through a concrete jungle of murder, sex, greed, and revenge.

Knight, the sheriff of the local magical government, or "the Gambit," is called to recover a mutilated body, tainted with magic and dumped at a popular haunt. When the corpse is identified as a close associate of the Gambit, he suspects a larger conspiracy threatening the fragile peace amongst the city's magic-wielding factions. As more bodies fall, Knight finds himself fighting for the lives of those he cares about.

In the near future, women's rights are eroding, and those who refuse their newly proscribed societal role are hunted as gender criminals, by the authorities when they're lucky, and by militias when they're not. This harrowing dystopia is seen through the eyes of a woman cast into a resistance group by circumstance, and a newly minted gender crimes detective tasked with bringing them to justice, as he grapples with whether or not that word still has meaning. Please note: Whores contains some graphic violence, adult language, and mature themes.

Dagney Morgan, a sarcastic Department of Agriculture employee with an affinity for paperwork, has a chance run-in with a farmer covered in toxic chemicals, and walks away with a genetically modified baby, along with the seeds of a military-industrial conspiracy. Dagney and her makeshift family scramble to stay ahead of artificial soldiers and megalomaniacal businessmen long enough to reap the truths behind an international web of corruption and intrigue. They also stop for pie, at one point.

A centenary edition of the 1913 novel, Miss Nobody, by Ethel Carnie (later Ethel Carnie Holdsworth), widely believed to be the first published novel written by a working-class woman in Britain. Miss Nobody charts the fortunes of the independent Carrie Brown, a former 'scullery drudge' turned oyster shop owner from Ardwick, Greater Manchester. Schooled in the popular romances of cheap yellow-backed novelettes, Carrie decides to sell up and leave the grey city of Manchester when she receives a surprising offer of marriage from a country farmer. The plot sees Carrie struggling to reconcile herself to the 'mixed up' reality of marriage and the loneliness of country life, and ultimately results in her striking out on her own. The story describes Carrie's picaresque adventures as she strives to find love and self-fulfilment in a harsh and oftentimes bitter world.