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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.
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