The illustrated biography of a Scottish country house, set beside the River Clyde, and of the people who made it their home over the past 850 years Written by four brothers, their sister and the eldest member of the next generation, Finlaystone offers an insidersa view of the house, its beautiful gardens and the surrounding estate. They tell about the lives of its former owners, many of whom played prominent roles in Scottish military, political, religious and cultural affairs. As Scotland moved forward from centuries of feuds between large feudal landowners to the reformation, the age of enlightenment and the industrial revolution, the building evolved from a fortress to a modest but attractive family home in 1746. Its present form as an imposing late Victorian mansion dates from when it was modernised and extended in 1900 by George Jardine Kidston, the great-grandfather of the older authors, who had grown wealthy from running one of the worlda s earliest steamship companies. In its hey-day, Finlaystone was managed for the comfort and leisure of its owners by a bevy of household servants living in a wing of the house, and by an army of workers, including gardeners, foresters, game-keepers, joiners and a laundry-maid. The prosperity that had made such a lavish life possible, however, soon started to decline, with George Kidstona s death in 1909, followed just 5 years later by war, the economic depression in the 1930s, and then World War II. Unlike many other large country houses, Finlaystone remains a family home, kept afloat largely by the hard work and adaptability of the members of the family who reflect in this book on the joys and travails that this implied.

General Sir Gordon MacMillan's five children decided to write this life of their father to learn more about what he had done, and so allow their children and grandchildren to draw inspiration from the great man from whom they are descended. Fascinating details came to light about his bravery in the First World War, his successes in command in the Second World War, his good fortune in surviving three assassination attempts during the last years of the British Mandate in Palestine, and his disagreement with Churchill over the handling of delicate issues in Gibraltar. But this is not just a tale of a soldier and his military exploits, and of his subsequent engagement in civilian and Clan activities in Scotland. It is a story that is placed in the broader family setting within which his children feel fortunate to have been brought up.

Mary Jean Chan and Andrew McMillan's luminous anthology, 100 Queer Poems, is a celebration of thrilling contemporary voices and visionary poets of the past. Featuring Elizabeth Bishop, Langston Hughes, Ocean Vuong, Carol Ann Duffy, Kae Tempest and many more. Encompassing both the flowering of queer poetry over the past few decades and the poets who came before and broke new ground, 100 Queer Poems presents an electrifying range of writing from the twentieth century to the present day. Questioning and redefining what we mean by a 'queer' poem, you'll find inside classics by Elizabeth Bishop, Langston Hughes, Wilfred Owen, Charlotte Mew and June Jordan, central contemporary figures such as Mark Doty, Jericho Brown, Carol Ann Duffy, Kei Miller, Kae Tempest, Natalie Diaz and Ocean Vuong, alongside thrilling new voices including Chen Chen, Richard Scott, Harry Josephine Giles, Verity Spott and Jay Bernard. Curated by two widely acclaimed poets, Mary Jean Chan and Andrew McMillan, 100 Queer Poems moves from childhood and adolescence to forging new homes and relationships with our chosen families, from urban life to the natural world, from explorations of the past to how we find and create our future selves. It deserves a place on the shelf of every reader keen to discover and rediscover how queer poets speak to one another across the generations.

This book invites the reader to think about collaborative research differently. Using the concepts of ‘letting go’ (the recognition that research is always in a state of becoming) and 'poetics’ (using an approach that might interrupt and remake the conventions of research), it envisions collaborative research as a space where relationships are forged with the use of arts-based and multimodal ways of seeing, inquiring and representing ideas. The book's chapters are interwoven with ‘Interludes’ which provide alternative forms to think with and another vantage point from which to regard phenomena, pose a question and seek insights or openings for further inquiry, rather than answers. Altogether, the book celebrates collaboration in complex, exploratory, literary and artistic ways within university and community research.

This book invites the reader to think about collaborative research differently. Using the concepts of 'letting go' (the recognition that research is always in a state of becoming) and 'poetics' (using an approach that might interrupt and remake the conventions of research), it envisions collaborative research as a space where relationships are forged with the use of arts-based and multimodal ways of seeing, inquiring and representing ideas. The book's chapters are interwoven with 'Interludes' which provide alternative forms to think with and another vantage point from which to regard phenomena, pose a question and seek insights or openings for further inquiry, rather than answers. Altogether, the book celebrates collaboration in complex, exploratory, literary and artistic ways within university and community research.

The town was once a hub of industry. A place where men toiled underground in darkness, picking and shovelling in the dust and the sleck. It was dangerous and back-breaking work but it meant something. Once, the town provided, it was important, it had purpose. But what is it now? Brothers Alex and Brian have spent their whole life in the town where their father lived and his father, too. Still reeling from the collapse of his personal life, Alex, is now in his middle age, and must reckon with a part of his identity he has long tried to mask. Simon is the only child of Alex and had practically no memory of the mines. Now in his twenties and working in a call centre, he derives passion from his side hustle in sex work and his weekly drag gigs. Set across three generations of South Yorkshire mining family, Andrew McMillan's short and magnificent debut novel is a lament for a lost way of a life as well as a celebration of resilience and the possibility for change.

Love sonnets are for romantics, starry-eyed lovers and ardent hearts. And Shakespeare's sonnets are the best ever written. But this is why they are also for cynics, for star-crossed lovers and for those who know the anguish of unrequited love. Some appear to be written to a young man, some to a woman. And although the poems are full of mystery - why did Shakespeare write them, and to whom? - each one speaks to us from across the centuries of love, hate and the intensity of being alive. INTRODUCED BY ANDREW McMILLAN 'This is a crazy, all-consuming, feverish and sweaty love; love, in all its uncut, full-strength intensity; an adolescent love' Don Paterson, Guardian

*Winner of the 2015 Guardian First Book Award* Raw and urgent, these poems are hymns to the male body - to male friendship and male love - muscular, sometimes shocking, but always deeply moving. We are witness here to an almost religious celebration of the flesh: a flesh vital with the vulnerability of love and loss, to desire and its departure. In an extraordinary blend of McMillan's own colloquial Yorkshire rhythms with a sinewy, Metaphysical music and Thom Gunn's torque and speed - 'your kiss was deep enough to stand in' - the poems in this first collection confront what it is to be a man and interrogate the very idea of masculinity. This is poetry where every instance of human connection, from the casual encounter to the intimate relationship, becomes redeemable and revelatory. Dispensing with conventional punctuation, the poet is attentive and alert to the quality of breathing, giving the work an extraordinary sense of being vividly poised and present - drawing lines that are deft, lyrical and perfectly pitched from a world of urban dereliction. An elegant stylist and unfashionably honest poet, McMillan's eye and ear are tuned, exactly, to both the mechanics of the body and the miracles of the heart. Winner of the 2015 Fenton Aldeburgh First Collection Prize Shortlisted for the 2015 Costa Poetry Prize Shortlisted for the 2015 Forward Prize for Best First Collection

**WINNER OF THE POLARI PRIZE 2019** 'Vivid, accessible and honest, sometimes uncomfortably so' Alan Bennett, London Review of Books In these intimate, sometimes painfully frank poems, Andrew McMillan takes us back to childhood and early adolescence to explore the different ways we grow into our sexual selves and our adult identities. Examining our teenage rites of passage: those dilemmas and traumas that shape us - eating disorders, masturbation, loss of virginity - the poet examines how we use bodies, both our own and other people's, to chart our progress towards selfhood. McMillan's award-winning debut collection, physical, was praised for a poetry that was tight and powerful, raw and tender, and playtime expands that narrative frame and widens the gaze. Alongside poems in praise of the naivety of youth, there are those that explore the troubling intersections of violence, masculinity, class and sexuality, always taking the reader with them towards a better understanding of our own physicality. 'isn't this what human kind was made for', McMillan asks in one poem, 'telling stories learning where the skin/is most in need of touch'. These humane and vital poems are confessions, both in the spiritual and personal sense; they tell us stories that some of us, perhaps, have never found the courage to read before.

*A 'BOOKS OF 2021' PICK IN THE GUARDIAN, FINANCIAL TIMES AND IRISH TIMES CULTURE* After two prize-winning collections which examined the intimacies and intricacies of the physical body, McMillan's third book marks a shift: both inward, into the difficult world of mental health, and outwards into the natural and political world. Keeping his trademark breath-space and lower-case lines, but more formally experimental, incorporating sequences and sonnets, the poems in pandemonium explore the fragility and depth of the human mind - in its panic and its troubled retreat - and map this turmoil onto the chaos and abundance of the garden. Depression is mirrored in the invasive, seemingly untreatable knotweed that slowly suffocates the garden, while the sky conspires in its sudden, terrifying clarity, 'as though the root of the world were ripped clean off'. McMillan has been celebrated for his unflinchingly frank depictions of the body and sexual love, but these new poems are raw dispatches from a mind in freefall, a body in trouble. Addressing a period of acute depression, they are less about physical union and completeness and more about fracture and distance: tender, savagely moving poems which stare, unblinkingly, into the sudden havoc and hurt of this world, searching for - and finally finding - some redemption.