Longlisted for William Hill Sports Book of the Year 2020 'This pioneering memoir . . . engagingly balances the highs of captaincy and grand slams with striking emotional honesty as to herregrets' Guardian Books of the Year 'Her struggle is that of women's rugby and it is told here with great honesty' Sunday Times Books of the Year Catherine Spencer was the captain of the England women's rugby team for three years. She scored eighteen tries for England, won six of the eight Six Nations competitions she took part in, and captained her team to three championship titles, a European cup, two Nations Cup tournament victories and the World Cup final held on home soil in 2010, which thrust women's rugby into the limelight. All of this while holding down a full time job, because the women's team, unlike the men's, did not get paid for their sport. Mud, Maul, Mascara is an effort to reconcile alleged opposites, to show the woman behind the international sporting success. Painfully honest about the mental struggles Catherine faced during, and after, her career as an elite athlete, it is also warm, funny and inspirational - a book for anyone who has ever had a dream, or self-doubt, or a yearning for a really good, mud-proof mascara.

Set in 1930s Calcutta, this is a "roman a clef" of remarkable intimacy. Originally published in Romanian in 1933, this semiautobiographical novel by the world renowned scholar Mircea Eliade details the passionate awakenings of Alain, an ambitious young French engineer flush with colonial pride and prejudice and full of a European fascination with the mysterious subcontinent.
Offered the hospitality of a senior Indian colleague, Alain grasps at the chance to discover the authentic India firsthand. He soon finds himself enchanted by his host's daughter, the lovely and inscrutable Maitreyi, a precocious young poet and former student of Tagore. What follows is a charming, tentative flirtation that soon, against all the proprieties and precepts of Indian society, blossoms into a love affair both impossible and ultimately tragic. This erotic passion plays itself out in Alain's thoughts long after its bitter conclusion. In hindsight he sets down the story, quoting from the diaries of his disordered days, and trying to make sense of the sad affair.
A vibrantly poetic love story, "Bengal Nights" is also a cruel account of the wreckage left in the wake of a young man's self discovery. At once horrifying and deeply moving, Eliade's story repeats the patterns of European engagement with India even as it exposes and condemns them. Invaluable for the insight it offers into Eliade's life and thought, it is a work of great intellectual and emotional power.
""Bengal Nights" is forceful and harshly poignant, written with a great love of India informed by clear-eyed understanding. But do not open it if you prefer to remain unmoved by your reading matter. It is enough to make stones weep." -- "Literary Review"
Mircea Eliade (1907-1986) was the Sewell L. Avery Distinguished Service Professor in the Divinity School and the Committee on Social Thought at the University of Chicago. Many of his scholarly works, as well as his two-volume autobiography and four-volume journal, are published by the University of Chicago Press. Translated into French in 1950, "Bengal Nights" was an immediate critical success. The film, "Les Nuits Bengali," appeared in 1987.

Longlisted for William Hill Sports Book of the Year 2020 'This pioneering memoir . . . engagingly balances the highs of captaincy and grand slams with striking emotional honesty as to herregrets' Guardian Books of the Year 'Her struggle is that of women's rugby and it is told here with great honesty' Sunday Times Books of the Year Catherine Spencer was the captain of the England women's rugby team for three years. She scored eighteen tries for England, won six of the eight Six Nations competitions she took part in, and captained her team to three championship titles, a European cup, two Nations Cup tournament victories and the World Cup final held on home soil in 2010, which thrust women's rugby into the limelight. All of this while holding down a full time job, because the women's team, unlike the men's, did not get paid for their sport. Mud, Maul, Mascara is an effort to reconcile alleged opposites, to show the woman behind the international sporting success. Painfully honest about the mental struggles Catherine faced during, and after, her career as an elite athlete, it is also warm, funny and inspirational - a book for anyone who has ever had a dream, or self-doubt, or a yearning for a really good, mud-proof mascara.

The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and '70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art. The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London's art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibitions, along with a growing mobilization of artists around political and cultural issues ranging from feminism to democracy, pushed the boundaries of the London art scene beyond the West End's familiar galleries and posed a radical challenge to established modes of making and understanding art. Engaging, wide-ranging, and original, London Art Worlds provides a necessary perspective on the visual culture of the London art scene in the 1960s and '70s. Art historians and scholars of the era will find these essays especially valuable and thought provoking. In addition to the editors, contributors to this volume are Elena Crippa, Antony Hudek, Dominic Johnson, Carmen Julia, Courtney J. Martin, Lucy Reynolds, Joy Sleeman, Isobel Whitelegg, and Andrew Wilson.

Beyond the Happening uncovers the heterogeneous, uniquely interdisciplinary performance-based works that emerged in the aftermath of the early Happenings. By the mid-1960s Happenings were widely declared outmoded or even 'dead', but this book reveals how many practitioners continued to work with the form during the late 1960s and 1970s, developing it into a vehicle for studying interpersonal communication that simultaneously deployed and questioned contemporary sociology and psychology. Focussing on the artists Allan Kaprow, Marta Minujin, Carolee Schneemann and Lea Lublin, it charts how they revised and retooled the premises of the Happening within a wider network of dynamic international activity. The resulting performances directly intervened in the wider discourse of communication studies, as it manifested in the politics of countercultural dropout, soft power and cultural diplomacy, alternative pedagogies, sociological art and feminist consciousness-raising. -- .