Winner of the Ted Hughes Award for New Work in Poetry 'This book should be required reading for anyone thinking of having a baby, or even anyone who knows someone who is thinking of having a baby' Scotland on Sunday 'Fascinating and honest' Mumsnet 'Like talking to a friend' Observer There were many things that Hollie McNish didn't know before she was pregnant. How her family and friends would react; that Mr Whippy would be off the menu; how quickly ice can melt on a stomach. These were on top of the many other things she didn't know about babies: how to stand while holding one; how to do a poetry gig with your baby as an audience member; how drum'n'bass can make a great lullaby. And that's before you even start on toddlers. But Hollie learned. And she's still learning, slowly. Nobody Told Me is a collection of poems and stories; Hollie's thoughts on raising a child in modern Britain, of trying to become a parent in modern Britain, of sex, commercialism, feeding, gender and of finding secret places to scream once in a while.

In what ways did playwrights like Shakespeare respond to the two urban locations of the Globe and the Blackfriars? What was the effect of their different acoustic and visual experiences on actors and audiences? What did the labels 'public' for the Globe and 'private' for the Blackfriars, actually mean in practice? Sarah Dustagheer offers the first in-depth, comparative analysis of the performance conditions of the two sites. This engaging study examines how the social, urban, sensory and historical characteristics of these playhouses affected dramatists, audiences and actors. Each chapter provides new interpretations of seminal King's Men's works written as the company began to perform in both settings, including The Alchemist, The Tempest and Henry VIII. Presenting a rich and compelling account of the two early modern theatres, the book also suggests fresh insights into recent contemporary productions at Shakespeare's Globe, London and the new Sam Wanamaker Playhouse.

There’s Often a Fine Line Between a Criminal and a Saint Constable Jackson Forge intends to make the world safer, or at least the streets of Victorian London. But that’s Kit Turner’s domain, a swindler who runs a crew that acquires money the old-fashioned way—conning the rich to give to the poor. When a local cab driver goes missing, Jackson is tasked with finding the man, and the only way to do that is by enlisting Kit’s help. If Jackson doesn’t find the cabby, he’ll be fired. If Kit doesn’t help Jackson, he’ll arrest her for thievery. Yet neither of them realize those are the least of their problems.