Ranging from the mid-19th century to the present, and from Edinburgh to Plymouth, this powerful collection explores the significance of locality in queer space and experiences in modern British history. The chapters cover a broad range of themes from migration, movement and multiculturalism; the distinctive queer social and political scenes of different cities; and the ways in which places have been reimagined through locally led community history projects. The book challenges traditional LGBTQ histories which have tended to conceive of queer experience in the UK as a comprising a homogeneous, national narrative. Edited by leading historians, the book foregrounds the voices of LGBTQ-identified people by looking at a range of letters, diaries, TV interviews and oral testimonies. It provides a unique and fascinating account of queer experiences in Britain and how they have been shaped through different localities.

Ranging from the mid-19th century to the present, and from Edinburgh to Plymouth, this powerful collection explores the significance of locality in queer space and experiences in modern British history. The chapters cover a broad range of themes from migration, movement and multiculturalism; the distinctive queer social and political scenes of different cities; and the ways in which places have been reimagined through locally led community history projects. The book challenges traditional LGBTQ histories which have tended to conceive of queer experience in the UK as a comprising a homogeneous, national narrative. Edited by leading historians, the book foregrounds the voices of LGBTQ-identified people by looking at a range of letters, diaries, TV interviews and oral testimonies. It provides a unique and fascinating account of queer experiences in Britain and how they have been shaped through different localities.

Pivotal British multidisciplinary artist Marc Quinn’s practice explores what it is to be human in the world today. This is the most comprehensive book to date on the artist’s bold and singular practice. Marc Quinn came to the attention of the international art scene in 1991 with Self, a cast of his head realized in eight pints of his own frozen blood, exhibited in a specially designed refrigeration unit. With his materials and techniques, Quinn challenges the boundaries between art and science. Besides using ice, glass, metal, marble, and lead, he has experimented with flowers and plants frozen in silicon. Since 1999, he has been creating sculptures in classic white marble of subjects who lack one or more limbs. In addressing the purely physical aspects of life, Quinn confronts the viewer with the chasm between the physical and the mental, beauty and ugliness, the eternal and the mortal. This overview of his practice includes a timeline of all his major works.