This book's overarching premise is that discussion and critique in the discourses of architecture and urbanism have their primary focus on engagements with form, particularly in the sense of the question as to what planning and architecture signify with respect to the forms they take, and how their meanings or content (what is "contained") is considered in relation to form-as-container. While significant critical work in these disciplines has been published over the past 20 years that engages pertinently with the writings of Walter Benjamin and Michel Foucault, there has been no address to the co-incidence in the work of Benjamin and Foucault of an architectural figure that is pivotal to each of their discussions of the emergence of modernity: The arcade for Benjamin and the panoptic prison for Foucault have a parallel role. In Foucault's terms, panopticism is a "diagram of power." The parallel, for Benjamin, would be his understanding of "constellation." In more recent architectural writings, the notion of the diagram has emerged as a key motif. Yet, and in as much as it supposedly relates to aspects of the work of Foucault, along with Gilles Deleuze, this notion of "diagram" amounts, for the most part, to a thinly veiled reinstatement of geometry-as-idea. This book redresses the emphasis given to form within the cultural philosophy of modernity and-particularly with respect to architecture and urbanism-inflects on the agency of force that opens a reading of their productive capacities as technologies of power. It is relevant to students and scholars in poststructuralist critical theory, architecture, and urban studies. "This is a book about Foucault and Benjamin and it is grounded in a deep knowledge of and reflection upon their works, but it is also underpinned by an impressive erudition. There are reflections on Hegel and Heidegger (central to the author) and Derrida, along with Kierkegaard, and others. This leads to a rich and suggestive discussion ... in staging a spatial-architectural-political conversation between Foucault and Benjamin." - Anonymous Reviewer "Mark Jackson's Diagrams of Power in Benjamin and Foucault, The Recluse of Architecture juxtaposes and interrogates its two leading actors so as to draw from and through them a theory of architecture, which is inseparable from its recluse. In doing so it elaborates a series of complex connections with their various interlocutors and inspirations, Hegel, Heidegger, Derrida, the Kabbalah, Agamben, allegory, Marx, Deleuze, Klossowski, tragedy, capitalism, modernity, and so on. The list is long and impressive. This is not only done with an extremely high degree of scholarship, but is presented in a light, lucid and very compelling manner in a voice both personal and authoritative. The recluse is the figure of mimesis itself, the appearance of a withdrawal, always already a ruin. This book not only contributes a highly astute reading of its philosophical objects, but it enacts the ontology of the recluse through its own unfolding, simultaneously revealing and withholding the meaning of architecture 'as such', so that we not only understand its meaning, but feel the pulsing differential of the book's object as if it were alive within us." - Stephen Zepke, Independent Researcher, Vienna

This book is concerned with developing an in-depth understanding of contemporary political and spatial analyses of cities. In the three-part development of the book's overall argument or premise, the reader is taken in Part I through a range of contemporary critical and political understandings of urban securitizing. This is followed by an historical urban landscape of emerging liberalism and neo-liberalism, in nineteenth-century Britain and twentieth-century United States, respectively. These case-study historical chapters enable the introduction of key political issues that are more critically assayed in Parts II and III. With Part II, the reader is introduced in depth to a series of spatial analyses undertaken by Michel Foucault that have been crucial for especially late-twentieth and twenty-first century urban theory and political geography. With Part III the full ramifications of a paradigmatic shift are explored at the level of rethinking territory, population and design. This book is timely and useful for readers who want to develop a stronger understanding of what the book's researchers term a new political paradigm in urban planning, one ultimately governed by global economic forces that define the end of probability.

This is a gentle story to help children aged 18 months to 6 years who have lived with violence in their home. Baby Bear lives in a home with the Big Bears, and loves to chase butterflies and make mud pies - they make Baby Bear's tummy fill with sunshine. Then, one night, Baby Bear hears a big storm downstairs in the house and in the morning, Baby Bear's tummy starts to feel grey and rainy. How will such a small bear cope with these big new feelings? This sensitive, charming storybook is written to help children who have lived with violence at home to begin to explore and name their feelings. Accompanied by notes for adults on how to use each page of the story to start conversations, it also features fun games and activities to help to understand and express difficult emotions. It will be a useful book for social workers, counsellors, domestic violence workers and all grown-ups working with children.

From the peerless author of The Lottery and We Have Always Lived in the Castle, this is a treasure trove of deliciously dark and funny stories, essays, lectures, letters and drawings. Let Me Tell You brings together the brilliantly eerie short stories Jackson is best known for with frank and inspiring lectures on writing; comic essays she wrote about her large, rowdy family; and revelatory personal letters and drawings. Jackson's landscape here is most frequently domestic - dinner parties, children's games and neighbourly gossip - but one that is continually threatened and subverted in her unsettling, inimitable prose. This collection is the first opportunity to see Shirley Jackson's radically different modes of writing side by side, revealing her to be a magnificent storyteller, a sharp, sly humorist and a powerful feminist. 'The stories range from sketches and anecdotes to complete and genuinely unsettling tales, somewhat alarming and very creepy ... The whole of the book offers insights into the vagaries of her mind, which was ruminant and generous ... For those of us whose imaginations, and creative ambitions, were ignited by 'The Lottery', Jackson remains one of the great practitioners of the literature of the darker impulses' - Paul Theroux, New York Times 'Shirley Jackson made a reputation with a short story in 1948. Like a lot of people I read 'The Lottery' when I was young, in an anthology of short stories from the New Yorker, and never forgot it. Let Me Tell You is a rich, enjoyable compendium of her unpublished short fiction and occasional writings, kicking off with a story of a dozen pages, 'Paranoia', which I won't forget, either' - Tom Stoppard, TLS Books of the Year