David Bowie, Enid Blyton and the sun machine

Tattoos in crime and detective narratives: Marking and remarking examines representations of the tattoo and tattooing in literature, television and film, from two periods of tattoo renaissance (1851–1914, and around 1955 to the present). The collection reads tattoos and associated scarification, such as branding, as mimetic devices that mark and remark crime and detective narratives in complex ways. The chapters utilise a variety of critical perspectives drawn from posthumanism, spatiality, postcolonialism, embodiment and gender studies to read the tattoo as individual and community bodily narratives. The collection develops its focus from the first tattoo renaissance and considers the rebirth of the tattoo in contemporary culture through literature, children's literature, film and television. This book has a broad appeal and will be of interest to all literature and media scholars and, in particular, those with an interest in crime and detective narratives and skin studies.

The changes in warfare during the twentieth century could be addressed from a variety of perspectives, political, cultural, and national. This book addresses the issue of how gender is constructed by exploring a range of historical events. It also asserts that a focus on gender, rather than producing a depoliticised reading of our culture, offers an informed debate on a range of political issues. The book explores the impact of warfare on women whose civilian or quasi-military roles resulted in their exile or self-exile to the role of 'other'. The book first draws upon a number of genres to use Richard Aldington and H. D. (the poet Hilda Doolittle), to understand the social and cultural implications of warfare for both parties in a relationship. Then, it examines the intricate gender assumptions that surround the condition of 'shell shock' through a detailed exploration of the life and work of Ver a Brittain. Continuing this theme, considering the nature of warfare, the gendered experience of warfare, through the lens of the home front, the book discusses the gendered attitudes to the First World War located within Aldous Huxley's novella 'Farcical History of Richard Greenow'. Wars represented in Western cinema are almost universally gendered as male, which corresponds to the battlefield history of twentieth-century warfare. As this situation changes, and more women join the armed services, especially in the United States, a more inclusive cinematic coding evolves through struggle. The book considers three decades of film, from the Vietnam War to the present.

Whilst many women surrealists worked across different media such as painting, sculpture, photography, and writing, contemporary historiographies have tended to foreground the visual aspects of this oeuvre. Featuring original essays by leading scholars of surrealism, Surrealist Women’s Writing: A Critical Exploration offers the first sustained critical inquiry into the writing of women associated with surrealism. The volume aims to demonstrate the extensiveness and the historical, linguistic, and culturally contextual breadth of this writing, as well as to highlight how the specifically surrealist poetics and politics that characterise these writers’ work intersect with and contribute to contemporary debates on, for example, gender, sexuality, subjectivity, xenophobia, anthropocentrism, and the environment.

Drawing on a variety of innovative theoretical approaches, the essays in the volume focus on the writing of a number of women surrealists, many of whom have hitherto mainly been known for their visual rather than their literary production: Claude Cahun, Leonora Carrington, Kay Sage, Colette Peignot, Suzanne Césaire, Unica Zürn, Ithell Colquhoun, Leonor Fini, Dorothea Tanning and Rikki Ducornet.

Surrealist Women’s Writing: A Critical Exploration offers an important resource for scholars and students across the fields of modernist literature, the historical avant-garde, literary and visual surrealism and its legacies, feminism, and critical theory.