'Think Patrick Hamilton meets Peaky Blinders with a feminist twist' Metro 'Utterly transporting, read and lose yourself completely' Stylist 'A cinematic, rogueish, and utterly entertaining page-turner by the queen of feisty historical women. Goes down in one jewel-fisted slug' Abigail Tarttelin, author of DEAD GIRLS 'My mum always said, a fistful of rings is as good as a knuckleduster' The Great Smog descends on London overnight; a leadership feud breaks out amongst a gang of female thieves who have terrorized the city for years; and Florrie, the girl who is set to inherit the bloody crown, falls in love with a good boy. Can she find her own path and the courage to stumble along it - in a fog so thick that she can see her own feet? 'A fascinating insight into early girl gangs, full of menace and gritty glamour' Sunday Mirror 'A gripping, greasy, gritty thriller. You'll be able to taste the fog in the back of your throat' Red Magazine

I sat before my tambour hoop but I did not sew. I thought of split lips, flying teeth and red blood on white linen. Born in a Bristol brothel at the end of the eighteenth century, Ruth Webber, her toe upon the scratch, is ready to face all comers. Lady Charlotte Sinclair, scarred with small pox and bullied by her boorish brother, is on the verge of smashing the bonds of convention that have held her for so long. George Bowden, without inheritance or title, is prepared to do whatever it takes to make his way in the world. Let the fight begin . . .

Anna Freeman Bentley’s paintings use architectural imagery to explore the emotive potential of space. Grounded in an interest in the baroque her source material includes junk shops, restaurants, private members clubs, flea markets and designed interiors. Central to her work is an investigation into surface, tension and the atmosphere evoked by these different interior surroundings. The spaces she depicts are empty, yet visual signifiers point to evidence of people and social happenings. This, Freeman Bentley’s third publication to date, is centred on the relationship between painting and cinema and is divided into sections dedicated to major paintings on canvas and panel, and a number of works on paper (all works 2021–22). Freeman Bentley’s work here is focused on sets from 'The Colour Room' (2021), a film that tells the story of the early career of celebrated British ceramicist Clarice Cliff (1899–1972). The foreword to the book is written by Rollo Campbell and Matt Incledon of Frestonian Gallery. An essay by writer and critic Thomas Marks draws out the importance to her work of historic and contemporary cinema and temporary architecture. Marks notes a change in palette in these new paintings, with Freeman Bentley embracing pastels and tracing parallels between the artist herself and Cliff. An interview with Georgie Paget, co-founder of Caspian Films, production company for 'The Colour Room', meanwhile, provides insight into the artist’s particular interest in the artifice of film props and of the film set as a layered space ‘steeped in meaning, purpose and potential.’ The two discuss the reciprocity of painting and cinema in detail, recounting Freeman Bentley’s experiences on the film’s sets and discussing her working processes, beginning with taking photographs on set, through to oil sketches and the later development of large-scale canvases. The publication is edited by Matt Incledon and Matt Price. It is designed by Joe Gilmore, printed and bound by Gomer, Wales, and co-published by Frestonian Gallery, London, and Anomie Publishing, London. The publication coincides with the second solo show by Anna Freeman Bentley at Frestonian Gallery, by whom the artist is represented. The exhibition, also titled ‘make believe’ is divided between two sites: the 2022 Armory Show, New York, and Frestonian Gallery, London. Anna Freeman Bentley studied Painting at Chelsea College of Art, Kunsthochschule Berlin Weissensee and the Royal College of Art. Awards and residencies include Palazzo Monti Residency, Brescia, Italy, 2019; The Elizabeth Greenshields Foundation Grant 2019 and 2017, and Artist in Restaurant residency at Michelin-starred restaurant Pied à Terre, London, 2012. Selected exhibitions (* denotes solo) include DENK Gallery, Los Angeles, 2019*, Ahmanson Gallery, Irvine, 2018*; Space K, Seoul, 2017; 68projects, Berlin, 2017; the East London Painting Prize 2014 and 2015; Workshop Gallery, Venice, 2012*; MAC Birmingham, 2011; Prague Biennale, 2011, and the Bloomberg New Contemporaries, 2009. Her work is part of the Hotel Crillon collection, Paris; Saatchi Collection, London; Hogan Lovells Collection, London; the Ahmanson Collection, California, and numerous private collections worldwide.

All has been well, the werewolves have lived in peace for months now with no sight of The Ravenz since their last attempt to kill the pack. However, all of that is about to change when someone from Joe's and Thomas' past ends up on their door-step seeking help. The Ravenz have created a terrible beast that is said to be even tougher than the Ragnorok It's slaughtering the pack of werewolves that lives up in the mountains and they very much risk extinction. Unable to say no, and despite Rexy's objections, the pack must risk their own safety to travel up the mountains.... Where a great catastrophe awaits....

Anna takes us into her world and with unflinching self deprecation lays open her heart. From the playground politics of My Little Pony ownership, the tortuous twists and turns of a relationship on the rocks, the thrill of a new partner and the quiet revolution of Ginger takeover, Anna's comic touch remains deft and perfectly timed. Gingering The World From The Inside is an assured debut and demonstrates that honing work in performance before committing it to the page is, in the right hands, the creative engine of brilliance.