I can't forget her...sometimes, thinking about everything I have to live up to, trying to be this new person, its too much. The only way I can make sense of it all is the thought that somewhere down the line, this new life might somehow bring us together. In this modern day re-imagining of Charles Dickens' classic story, Pip is a boy from a council estate with no money, and no hope for the future. His mother, widow Jo Gargery, is a police officer struggling to provide for herself and her son. Before long, Pip's life is changed forever after he meets mysterious fugitive Magwycz, the beautiful but troubled Estella and the fearsome, wounded Miss Havisham. Pip's whirlwind adventure takes him to the heights of big city success - and into more danger than he could have ever imagined. Catapulting Dickens' beloved characters into the 21st century, Tom Crowley's adaption captures all the humour, humanity and adventure of the original with its timeless themes of unrequited love, the divide between the rich and the poor, and what it means to be 'good'. This edition was published to coincide with the world premiere at The Old Red Lion Theatre, London in December 2017.

Matt Chance, an ex US Army Ranger living in Bangkok, finds himself drafted into the middle of a deadly plot involving right wing Japanese fanatics intent on punishing China for grievances going back to the end of WW II and the loss of Japan s preeminent position of global power. What he unravels is not only a threat to China but to the world.

Largely due to the tastes of nineteenth century Western collectors and curators, weaponry abounds in ethnographic museums. However, the relative absence of Asian, African, Native American and Oceanic arms and armour from contemporary gallery displays neither reflects this fact, nor accords these important artefacts the attention they deserve. Weapons are often those objects in museums which most strongly record traumatic histories of colonial conquest around the world, showcase a society's most complex technologies, and encode a wealth of historical information relating to violent conflict, cultural identities, and indigenous masculinities. This volume brings together an international collective of museum professionals, indigenous cultural historians, anthropologists and material culture specialists to address the historical role of weapon collections in ethnographic museums, and to reconsider the value of studying arms for the purposes of writing richer cultural histories. From Australia to the Amazon, from Uttar Pradesh to ancient Ulster, the essays in this book endeavour to return ethnographic weapons to the centre of material culture studies. In doing so, they offer a blueprint for a more sophisticated future treatment of world weaponry.