"It presents an alternative perspective on the end of Empire by focusing upon one aspect of constitutional decolonization and the importance of the local legal culture in determining each dependency's constitutional settlement, and provides a series of empirical case studies on the incorporation of human rights instruments into domestic constitutions when negotiated between a state and its dependencies. More generally this book highlights Britain's human rights legacy to its former Empire."--BOOK JACKET.

A bill of rights would be a momentous constitutional development. It would shape our legal and political culture for years to come. The issues are complex and contentious. Only with thorough analysis and debate can we decide if a bill of rights is good for Britain. This volume deliberately avoids setting out a particular vision. Instead, it clearly lays out the issues that will need to be addressed in a proper public consideration of the subject: content, amendment, adjudication and enforcement, and process.

With original artworks throughout, an extraordinary fusion of memoir and artistic biography from the acclaimed artist and author of Self-Portrait. Dearest Gwen, I know this letter to you is an artifice. I know you are dead and that I’m alive and that no usual communication is possible between us but, as my mother used to say, “Time is a strange substance” and who knows really, with our time-bound comprehension of the world, whether there might be some channel by which we can speak to each other, if we only knew how. Celia Paul’s Letters to Gwen John centers on a series of letters addressed to the Welsh painter Gwen John (1876–1939), who has long been a tutelary spirit for Paul. John spent much of her life in France, making art on her own terms and, like Paul, painting mostly women. John’s reputation was overshadowed during her lifetime by her brother, Augustus John, and her lover Auguste Rodin. Through the epistolary form, Paul draws fruitful comparisons between John’s life and her own: their shared resolve to protect the sources of their creativity, their fierce commitment to painting, and the ways in which their associations with older male artists affected the public’s reception of their work. Letters to Gwen John is at once an intimate correspondence, an illuminating portrait of two painters (including full-color plates of both artists’ work), and a writer/artist’s daybook, describing Paul’s first exhibitions in America, her search for new forms, her husband’s diagnosis of cancer, and the onset of the global pandemic. Paul, who first revealed her talents as a writer with her memoir, Self-Portrait, enters with courage and resolve into new unguarded territory—the artist at present—and the work required to make art out of the turbulence of life.