Thomas Middleton's outrageous 'city comedy': a brilliantly plotted, farcical satire of lies and lust, translated from Jacobean London to the Soho of the 1950s. A dashingly impecunious bachelor, Dick Follywit, in need of quick cash and a good time has to live on his wits so turns con-man to fool his rich uncle. He variously becomes a Lord, a high-class call girl and a poor actor. Meanwhile, Truly Kidman, a high-class call girl - poor but quick-witted - needs to fool and then marry a rich young man... Sean Foley and Phil Porter's edited version of Middleton's play is faithful to the original text but adapts it to fit the seedy world of 1950s Soho, updating character names and including songs of the time to enhance the biting satire of lust and deception in the life of Bohemian London.

'Afghan Box Camera' documents a living form of photography in danger of disappearing forever. Known as the kamra-e-faoree ('instant camera'), Afghanistan is one of the last places on earth where it has continued to be used by photographers as a way of making a living. Hand-made out of wood, it is a camera and darkroom in one, and generations of Afghans have had their portraits taken with it, usually for identity documents. Under the Taliban, with the banning of photography, it was even outlawed, forcing photographers to hide or destroy their tools. Spanning decades, from peacetime to war, box camera photography in Afghanistan exists within a more sophisticated photographic history. The same photographers who ply their trade with the humble kamra-e-faoree may also make large format black and white portraits, which are then hand-coloured with exquisite artistry. With the help of dozens of Afghan photographers, 'Afghan Box Camera' illustrates the technique and artistry of a previously untold and visually enthralling photographic culture.

This book explores the world of present-day travel andtourism to Iran, Pakistan and Afghanistan with words and images based on actual happenings. The journal, Kafkanistan, explores how we are all influenced by the media. Believing that many of us will never visit the region and all we know about it is what we read in the newspapers and what we see on television, the authors were interested in perceptions based on the media versus their reality as visitors. These are, through first-hand experience and interviews with the local people and the objects in their lives, documented in this book. However, this is not a straightforward journal, because through their inquiry, the travelers discovered that the "real" world of the tourist this region has, is so bizarre, that it is a surreal one.Thus each man adopted an identity, to better integrate in his travels through the universe of "Kafkanistan," to aptly describe their experiences. Here is an image of a world that is based on and which represents actual happenings that are so unusual that they seem to be the work of fiction.

After suffering a heartbreaking loss, thirteen-year-old Madeline Bloomfield suddenly finds herself alone in the world, save for an aunt who can barely tolerate her and an estranged uncle who has never had the courage to face his own tragic past. But before she has a chance to deal with her grief, Maddy is whisked away to Jamaica, where she meets Bob, a Jamaican boy named after Bob Marley, and Brandon, a boy in possession of a mysterious journal that holds a secret thought to have been lost hundreds of years ago. Soon, the three teens are embroiled in a perilous adventure that will put their very lives at risk. Along the way, Maddy will discover what friendship truly means and that hope can be found in even the darkest of times.