Giacometti: Critical Essays brings together new studies by an international team of scholars who together explore the whole span of Alberto Giacometti's work and career from the 1920s to the 1960s. During this complex period in France's intellectual history, Giacometti's work underwent a series of remarkable stylistic shifts while he forged close affiliations with an equally remarkable set of contemporary writers and thinkers. This book throws new light on under-researched aspects of his output and approach, including his relationship to his own studio, his work in the decorative arts, his tomb sculptures and his use of the pedestal. It also focuses on crucial ways his work was received and articulated by contemporary and later writers, including Michel Leiris, Francis Ponge, Isaku Yanaihara and Tahar Ben Jelloun. This book thus engages with energising tensions and debates that informed Giacometti's work, including his association with both surrealism and existentialism, his production of both 'high' art and decorative objects, and his concern with both formal issues, such as scale and material, and with the expression of philosophical and poetic ideas. This multifaceted collection of essays confirms Giacometti's status as one of the most fascinating artists of the twentieth century.

Giacometti: Critical Essays brings together new studies by an international team of scholars who together explore the whole span of Alberto Giacometti's work and career from the 1920s to the 1960s. During this complex period in France's intellectual history, Giacometti's work underwent a series of remarkable stylistic shifts while he forged close affiliations with an equally remarkable set of contemporary writers and thinkers. This book throws new light on under-researched aspects of his output and approach, including his relationship to his own studio, his work in the decorative arts, his tomb sculptures and his use of the pedestal. It also focuses on crucial ways his work was received and articulated by contemporary and later writers, including Michel Leiris, Francis Ponge, Isaku Yanaihara and Tahar Ben Jelloun. This book thus engages with energising tensions and debates that informed Giacometti's work, including his association with both surrealism and existentialism, his production of both 'high' art and decorative objects, and his concern with both formal issues, such as scale and material, and with the expression of philosophical and poetic ideas. This multifaceted collection of essays confirms Giacometti's status as one of the most fascinating artists of the twentieth century.

A Rape of the Soul So Profound began when a young researcher accidentally came upon restricted files in an archives collection. What he read overturned all his assumptions about an important part of Aboriginal experience and Australia's past. The book ends in the present, 20 years later, in the aftermath of the Royal Commission on the Stolen Generations. Along the way Peter Read investigates how good intentions masked policies with inhuman results. He tells the poignant stories of many individuals, some of whom were forever broken and some who went on to achieve great things. This is a book about much sorrow and occasional madness, about governments who pretended things didn't happen, and about the opportunities offered to right a great wrong.

This extraordinary book, published in 2000, explores the feelings of non-Aboriginal Australians as they articulate their sense of belonging to the land. Always acting as a counterpoint is the prior occupation and ownership by Aboriginal people and their spiritual attachment. Peter Read asks the pivotal questions: what is the meaning of places important to non-Aboriginal Australians from which the indigenous people have already been dispossessed? How are contemporary Australians thinking through the problem of knowing that their places of attachment are also the places which Aboriginals loved - and lost? And are the sites of all our deep affections to be contested, articulated, shared, foregone or possessed absolutely? The book cleverly interweaves Read's analysis (and personal quest for belonging) with the voices of poets, musicians, artists, historians, young people, Asian Australians, farmers and seventh generation Australians.

A Rape of the Soul So Profound began when a young researcher accidentally came upon restricted files in an archives collection. What he read overturned all his assumptions about an important part of Aboriginal experience and Australia's past. The book ends in the present, 20 years later, in the aftermath of the Royal Commission on the Stolen Generations. Along the way Peter Read investigates how good intentions masked policies with inhuman results. He tells the poignant stories of many individuals, some of whom were forever broken and some who went on to achieve great things. This is a book about much sorrow and occasional madness, about governments who pretended things didn't happen, and about the opportunities offered to right a great wrong.

"Top man... I thought that I'd lived a colourful life until I read about Karl's adventures" - MICKEY THOMAS, WREXHAM AFC & WALES "Certified Twitter legend" - LADBIBLE Karl Phillips is just one of the lads - roofer by day, pilsner drinker by night. But as Bootlegger, he's scored hundreds of thousands of hits on YouTube with his hilarious matchday vlogs and keeps a huge number of followers on social media hooked with his humorous musings on life, work, the Flamethrower and his beloved Wrexham AFC. He even has a beer named after him - Wrexham Lager's iconic Bootlegger 1974 Pilsner, which has made its way onto the shelves of major supermarkets. From tough beginnings with teenage parents to a string of jobs in local factories, whether smearing butter on his headmaster's office window or getting a round of golf in during his shift as a street-cleaner, duckin' around shooting videos in football grounds and pubs across the UK or slightly overdoing it in holiday spots around the world, or in the throes of any of the other hilariously random antics described here, the Captain doesn't take himself too seriously and is mellowing with age, like a fine pilsner!

After mapping Britain's national decline over thirty years through 25 books of poetry, Peter Reading reinvented himself as a writer in his 21st-century work. The vitriolic social critic became poetry's Millennial prophet of doom, directing his venom and sorrow at the destruction of the world's wildlife and environment. "Vendange Tardive" is a late harvest of vintage Reading in disaster mode. Here is a rueful crop of valedictory poems in which man reaps what he sows: shipwreck, ruin, death, war, ignomony and extinction. But somehow, amid all that, there is still the fruit of the vine and the bittersweet spirit of life. Peter Reading is probably the most skilful and technically inventive poet writing today, mixing the matter and speech of the gutter with highly sophisticated metrical and syllabic patterns to produce scathing and grotesque accounts of lives blighted by greed, meanness, ignorance, phoney media flimflam, political ineptness and cultural impoverishment.

Peter Reading was one of the most original and controversial British poets of the post-war period: angry, uncompromising, gruesomely ironic, hilarious and heartbreaking - as funny as he was disconcerting. He was a prodigiously skilful and technically inventive poet, mixing the matter and speech of the gutter with highly sophisticated metrical and syllabic patterns to produce scathing and grotesque accounts of lives blighted by greed, meanness, ignorance, phony media flimflam, political ineptness and cultural impoverishment. Each of his collections is self-contained, as carefully constructed and plotted as a novel, interweaving voices and narrative strands which can now be seen to link the 24 books which make up his Collected Poems. This was published in three volumes from Bloodaxe: Poems 1970-1984 (1995), Poems 1985-1996 (1996) and Poems 1997-2003 (2003). He subsequently produced two later collections, -273.15 (2005) and Vendange Tardive (2010). He died in 2011. Volume 1 of his Collected Poems includes an Introduction by Isabel Martin and was a Poetry Book Society Recommendation. The collections included (in full) are: Water and Waste (1970), For the Municipality's Elderly (1974), The Prison Cell & Barrel Mystery (1976), Nothing For Anyone (1977), Fiction (1979), Tom o' Bedlam's Beauties (1981), Diplopic (1983), 5x5x5x5x5 (1983) and C (1984)

Peter Reading was one of Britain's most original and controversial poets: angry, uncompromising, gruesomely ironic, hilarious and heartbreaking - as funny as he was disconcerting. Over four decades he became our most skilful and technically inventive poet, mixing the matter and speech of the gutter with highly sophisticated metrical and syllabic patterns to produce scathing and grotesque accounts of lives blighted by greed, meanness, ignorance, phony media flimflam, political ineptness and cultural impoverishment. Each of his collections is self-contained, as carefully constructed and plotted as a novel, interweaving voices and narrative strands which can now be seen to link the 24 books which make up his Collected Poems. This was published in three volumes from Bloodaxe: Poems 1970-1984 (1995), Poems 1985-1996 (1996) and Poems 1997-2003 (2003). He subsequently produced two later collections, -273.15 (2005) and Vendange Tardive (2010). He died in 2011. The collections included (in full) in Volume 3 of his Collected Poems are: Work in Regress (1997), Ob. (1999), Marfan (2000), [untitled] (2001), Faunal (2002), Civil (2002) and d (2003).

This extraordinary book, published in 2000, explores the feelings of non-Aboriginal Australians as they articulate their sense of belonging to the land. Always acting as a counterpoint is the prior occupation and ownership by Aboriginal people and their spiritual attachment. Peter Read asks the pivotal questions: what is the meaning of places important to non-Aboriginal Australians from which the indigenous people have already been dispossessed? How are contemporary Australians thinking through the problem of knowing that their places of attachment are also the places which Aboriginals loved - and lost? And are the sites of all our deep affections to be contested, articulated, shared, foregone or possessed absolutely? The book cleverly interweaves Read's analysis (and personal quest for belonging) with the voices of poets, musicians, artists, historians, young people, Asian Australians, farmers and seventh generation Australians.

Feelings about lost or destroyed places rouse our deepest emotions. Losing a home or a suburb or leaving a homeland can be like losing a loved one. This book examines what it means to lose a place forever and why we return, and keep on returning, to these places so large in our memories. It considers many lost towns, suburbs, and homes: Darwin after Cyclone Tracy, the flooding of the town of Adaminaby in New South Wales, the inundation of Lake Pedder in Tasmania, bushfire at Macedon in Victoria, migration from other countries, the clearing of neighbourhoods for freeways and the everyday circumstances which force people from their land. Peter Read establishes how important the places we live in are, and how much we grieve when we lose them. It tells a human story, which is disturbing, poetic, and often inspiring. Everyone who has lost a place of importance to them will find it unforgettable.

Joy Janaka Wiradjuri Williams was a member of the Aboriginal Stolen Generations. She was taken from her mother at birth and put into a home for white girls. As an effected adult, she spent ten years in court suing the Australia's State Government for negligence. Not only did Joy lose the case, but lost two separate appeals. Several years later she was found dead, alone, in her Primbee flat in New South Wales. In this book, Peter Read - an award-winning author and prominent historian of Aboriginal history - tells Joy Williams's story, which exemplifies the detrimental effects of Aboriginal children removed from their mothers at birth. Joy suffered abuse, anger, violence, and mental illness. The book is a new style of biography, written in direct speech and dramatized, often using Joy's own words, with a reverse chronology from death to birth. Tripping over Feathers offers rare historical insight into the institutions, street life, and Indigenous and urban culture from 1942 to 2006. Also included are many of Joy Janaka Wiradjuri Williams's poems.