This is a triumph. A love letter to the ghosts of Edinburgh. I feel its hand upon my shoulder. -Sara Sheridan As a writer of fiction, I found myself itching to lift some of these characters from the page into the fertile fields of my own imagination. -Val McDermid About the book 10 Scotland Street – the story of an Edinburgh home and its cast of booksellers, silk merchants, sailors, preachers, politicians, cholera and coincidence and its widespread connections over two centuries across the globe.

A reflective look at the Great War of 1914-1918 through modern poetry and verse.

A contemporary collection of poetry covering all aspects of the life and conditions of men from all sides who fought in the Great War of 1914-1918.

Marguerite Duras is France's best-known and most controversial contemporary woman writer. Duras' influence extends from her early novels of the 1950's to her radically innovative experimental autobiographical text of the 1980's The Lover
Leslie Hill's book throws new light on Duras' relationship to feminism, psychoanalysis, sexuality, literature, film, politics, and the media. Feted by Kristeva, and Laca who claimed her as almost his other self, Duras is revealed to be a profoundly transgressive thinker and artist. It will be a must for all concerned with contemporary writing, writing by women, recent European cinema, film and literature.

Maurice Blanchot is perhaps best known as a literary critic. His texts on Kafka, Mallarme, Beckett and others make him one of the most influential critics of twentieth century literature. But he is equally influential as an incisive reader of philosophy through his enigmatic interpretations of Hegel, Nietzsche, Heidegger, Foucault and Derrida.
Leslie Hill offers a clear and comprehensive introduction to one of the key figures in the development of postmodern thought. He shows how Blanchot questions the very essence of philosophy and literature, and stresses the importance of his political writings and the relationship between writing and history that characterized his later work.

Blanchot provides a compelling insight into one of the key figures in the development of postmodern thought. Although Blanchot's work is characterised by a fragmentary and complex style, Leslie Hill introduces clearly and accessibly the key themes in his work. He shows how Blanchot questions the very existence of philosophy and literature and how we may distinguish between them, stresses the importance of his political writings and the relationship between writing and history that characterised Blanchot's later work; and considers the relationship between Blanchot and key figures such as Emmanuel Levinas and Georges Bataille and how this impacted on his work.
Placing Blanchot at the centre stage of writing in the twentieth century, Blanchot also sheds new light on Blanchot's political activities before and after the Second World War. This accessible introduction to Blanchot's thought also includes one of the most comprehensive bibliographies of his writings of the last twenty years.

Marguerite Duras: Apocalytic Desires offers a complete account in English of the fiction and films of France's best-known and most controversial contemporary woman writer. It considers all aspects of Duras' work, ranging from her early novels of the 1950s, to her radically experimental films of the 1970s and her best-selling novel of the 1980s, The Lover. It contains an extensive listing of all Duras' work, including her journalism, interviews, and television and radio appearances. Leslie Hill's analysis throws light on Duras' relations with feminism, psychoanalysis and sexuality, in her literature, films and politics. Those interested in modern literature or European cinema should find this text of interest; it offers an insight into the work of a major contemporary writer.

Devising Theatre and Performance is a hands-on guide for artists, students and teachers of performance at any stage of their practice. It offers a wide range of creative prompts and pathways enriched with critical thinking tools and questions, a hybrid approach Hill and Paris call 'Curious Methods'. This is a welcome addition to the field, created and curated by two experienced artists who have operated at the international interface of academia and professional practice for over three decades. The collection is packed with fun, creative, thoughtful exercises distilled from over twenty years of running interdisciplinary artist workshops and teaching both devising and performance making. As well providing numerous exercises and suggestions for devising, composing and editing original works, this book offers tools for giving and receiving feedback, critical reflection and framing artistic work within academic research contexts. Readers can choose to dip in and out, to follow the book as a course or to work section by section, focusing on organizing principles such as working from the body, working with site, working with objects or performance activism. The book includes a detailed production workbook and a practice-based research workbook you can tailor to your own projects. The 'Curious Methods' approach encourages users to take the time and space their practice deserves while offering tools, nourishment and encouragement and inviting them to take risks beyond their comfort zones. The exercises are carefully described so that they can easily be tested out by readers, and are well contextualized in relation to vivid examples from contemporary performance practice and relevant political contexts. This compelling approach goes beyond many other books on theatre devising, which merely provide performance recipes; they do so by repeatedly highlighting the vital cultural relevance and potential personal impact of the experiments that they invite us to undertake. The primary audience for this important new book will be academics, instructors and students in courses on devised theatre, improvisation, performance art, experimental performance and practice-based research. It will be essential for classroom use, for students of theatre and performance and live art - undergraduate, postgraduate and Ph.D., teachers and all those needing strategies for getting started. It will also appeal to readers from the broader arts, humanities and social sciences who are seeking resources for integrating creative methods into their research.

Marking the 100-year anniversary of women's suffrage, Leslie Hill provides a fascinating survey of the history of first wave feminism in British theatre, from the London premiere of Ibsen's A Doll's House in 1889 through the militant suffrage movement. Hill's approachable overview explores some of the pivotal ways in which theatre makers both engaged with and influenced feminist discourse on topics such as sexual agency, reproductive rights, marriage equality, financial independence and suffrage. Clear and concise, this is an ideal resource for undergraduate and postgraduate students of Theatre and Performance Studies taking courses on Women in Theatre and Performance, Staging Feminism, Early Feminist Theatre, Theatre and Suffrage, Gender and Theatre, Political Theatre and Performance Historiography. This text will also appeal to scholars, lecturers, and Literature students.

While thirty-eight year-old Sara Gorman and her two older sisters are sitting on the roof of their mother's old house and celebrating the life of the woman who can no longer recognize them due to debilitating Alzheimer's disease, Sara is suddenly overwhelmed by the shocking realization of thankfulness toward her mother's illness. As the realization sends her into a reflection of her life and childhood, readers are taken on an emotional journey of maternal neglect, artistic, success, and deep betrayal. Through personal tragedies, strained emotional relationships, and a battle with a devasting disease, this amazing story by Leslie Hills takes us all down the long road of forgiveness that takes us from here to there. This is a touching generational saga of one family's journey through love, betrayal, and redemption. A wonderful blend of humor, sadness, and heartwarming sentiment, this endearing novel will leave a lasting impression on all who read it. A captivating read for women of all ages, the novel paints a lovely picture of a lifetime of family drama and deceit being overcome by truth and love. Touching sentiment and a unique tone make this a must read for women everywhere. Unique in its quirkiness, the book tackles the tough subjects of Alzheimer's disease, neglect, deceit, and betrayal with a heartwarming humor over a profound sadness. Filled with fleshed-out characters with very real flaws and problems, the novel offers a complete look at a dysfunctional family coming apart at the seams while slowly learning to come back together.

Writing in fragments is often held to be one of the most distinctive signature effects of Romantic, modern, and postmodern literature. But what is the fragment, and what may be said to be its literary, philosophical, and political significance? Few writers have explored these questions with such probing radicality and rigorous tenacity as the French writer and thinker Maurice Blanchot.
For the first time in any language, this book explores in detail Blanchot's own writing in fragments in order to understand the stakes of the fragmentary within philosophical and literary modernity. It attends in detail to each of Blanchot's fragmentary works "(Awaiting Forgetting, The Step Not Beyond," and" The Writing of the Disaster") and reconstructs Blanchot's radical critical engagement with the philosophical and literary tradition, in particular with Hegel, Nietzsche, Heidegger, Heraclitus, Levinas, Derrida, Nancy, Mallarme, Char, and others, and assesses Blanchot's account of politics, Jewish thought, and the Shoah, with a view to understanding the stakes of fragmentary writing in Blanchot and within philosophical and literary modernity in general.

Writing in fragments is often held to be one of the most distinctive signature effects of Romantic, modern, and postmodern literature. But what is the fragment, and what may be said to be its literary, philosophical, and political significance? Few writers have explored these questions with such probing radicality and rigorous tenacity as the French writer and thinker Maurice Blanchot.
For the first time in any language, this book explores in detail Blanchot's own writing in fragments in order to understand the stakes of the fragmentary within philosophical and literary modernity. It attends in detail to each of Blanchot's fragmentary works "(Awaiting Forgetting, The Step Not Beyond," and" The Writing of the Disaster") and reconstructs Blanchot's radical critical engagement with the philosophical and literary tradition, in particular with Hegel, Nietzsche, Heidegger, Heraclitus, Levinas, Derrida, Nancy, Mallarme, Char, and others, and assesses Blanchot's account of politics, Jewish thought, and the Shoah, with a view to understanding the stakes of fragmentary writing in Blanchot and within philosophical and literary modernity in general.

Marking the 100-year anniversary of women's suffrage, Leslie Hill provides a fascinating survey of the history of first wave feminism in British theatre, from the London premiere of Ibsen's A Doll's House in 1889 through the militant suffrage movement. Hill's approachable overview explores some of the pivotal ways in which theatre makers both engaged with and influenced feminist discourse on topics such as sexual agency, reproductive rights, marriage equality, financial independence and suffrage. Clear and concise, this is an ideal resource for undergraduate and postgraduate students of Theatre and Performance Studies taking courses on Women in Theatre and Performance, Staging Feminism, Early Feminist Theatre, Theatre and Suffrage, Gender and Theatre, Political Theatre and Performance Historiography. This text will also appeal to scholars, lecturers, and Literature students.

The concept of community is one of the most frequently used and abused of recent philosophical or socio-political concepts. In the 1980s, faced with the imminent collapse of communism and the unchecked supremacy of free-market capitalism, the philosopher Jean-Luc Nancy (in The Inoperative Community) and the writer Maurice Blanchot (in The Unavowable Community) both thought it essential to rethink the fundamental basis of "community" as such. More recently, Nancy has renewed the debate by unexpectedly attacking Blanchot's account of community, claiming that it embodies a dangerously nostalgic desire for mythic and religious communion. This book examines the history and implications of this controversy. It analyses in forensic detail Nancy's and Blanchot's contrasting interpretations of German Romanticism, and the work of Heidegger, Bataille, and Marguerite Duras, and examines closely their divergent approaches to the contradictory legacy of Christianity. At a time when politics are increasingly inseparable from a deep-seated sense of crisis, it provides an incisive account of what, in the concept of community, is thought yet crucially still remains unthought.

The concept of community is one of the most frequently used and abused of recent philosophical or socio-political concepts. In the 1980s, faced with the imminent collapse of communism and the unchecked supremacy of free-market capitalism, the philosopher Jean-Luc Nancy (in The Inoperative Community) and the writer Maurice Blanchot (in The Unavowable Community) both thought it essential to rethink the fundamental basis of "community" as such. More recently, Nancy has renewed the debate by unexpectedly attacking Blanchot's account of community, claiming that it embodies a dangerously nostalgic desire for mythic and religious communion. This book examines the history and implications of this controversy. It analyses in forensic detail Nancy's and Blanchot's contrasting interpretations of German Romanticism, and the work of Heidegger, Bataille, and Marguerite Duras, and examines closely their divergent approaches to the contradictory legacy of Christianity. At a time when politics are increasingly inseparable from a deep-seated sense of crisis, it provides an incisive account of what, in the concept of community, is thought yet crucially still remains unthought.

This short history tells the story of five hundred years of papermaking against the general background of the coming of paper and printing in Britain, through the major developments of the Industrial Revolution, up to the technological advances which have made possible the enormous high-speed paper machines of the present day.

In his newest book, "Radical Indecision," esteemed scholar Leslie Hill poses the following question: If the task of a literary critic is to make decisions about the value of a literary work or the values embodied in it, decisions in turn based on some inherited or established values, what happens when that piece of literature fails to subscribe to the established values? Put another way, how should literary criticism respond to the paradox that in order to make critical judgments of literary works, it is first necessary to suspend judgment and to consider the impossibility of making a final decision? Hill pursues these ideas in the works of leading French critics Roland Barthes, Maurice Blanchot, and Jacques Derrida, discussing writers such as Sade, Mallarme, Proust, Artaud, Genet, Celan, and Duras.

Hill concludes that, despite their differences, Barthes, Blanchot, and Derrida share a conviction that criticism cannot take place without exposure to that resistance to decision that is inseparable from reading and that they address diversely as the "neuter" or the "undecidable." "Radical Indecision"offers the first sustained exploration of the "undecidable." This comprehensive book breathes new life into the discipline of literary theory and will be essential reading for students and scholars alike.

""Radical Indecision"offers vivid and compelling original readings of Barthes, Blanchot, and Derrida. Leslie Hill provides much more than another guide to three major theoreticians. He makes concrete sense of Derrida's concept of the undecidable and of a 'justice to come' in the field of literary studies. This outstanding book is the work of a seasoned commentator who has gained international visibility through his canonical books on Beckett and Blanchot, who is a major player in the fields of deconstruction and literary phenomenology." --Jean-Michel Rabate, University of Pennsylvania

"Leslie Hill confronts us once again here with the event of literature, so abrupt and unmistakable that it leaves us completely at a loss as to what it is we have yet to encounter. Only a scholar as learned and exacting as Hill could remind us so well of this devastating experience of indecision, and of its baffling demand." --Ann Smock, University of California, Berkeley

"Leslie Hill argues for a response to writing that does justice to its singularity and otherness, and his superb readings of Barthes, Blanchot, and Derrida exemplify just such a response. The understanding of literature that emerges from his meticulous accounts of these writers in their intellectual contexts is one that grants it importance precisely because it cannot be evaluated according to existing norms. The literary work both invokes the laws according to which it must be read and suspends those laws in an opening toward the future; Hill's 'indecisive' readings trace both the operation and the suspension of the laws of literature and literary criticism in wonderfully detailed engagements with his three subjects." --Derek Attridge, University of York