An elegant new edition of a classic book from one of the twentieth century's greatest garden writers. This landmark work on creating a garden was first published in 1956 and has rarely been out of print since. We Made a Garden is the story of how Margery Fish, one of the leading British gardeners of the mid-20th century, and her husband Walter transformed an acre of wilderness into a stunning cottage garden, still open to the public at East Lambrook Manor, Somerset, England. Quirky and readable, this book details her creation of a world-renowned cottage garden, as well as her battles with Walter in the process, who preferred the standard suburban approach. In this beautiful and timeless work, she recounts the trials and tribulations, the successes and failures of her venture with ease and humour. Topics covered are colourful and diverse, ranging from the most suitable hyssop for the terraced garden through composting, hedges and making paths to the best time to lift and replant tulip bulbs. This book has been hailed as everything from a blueprint for the creation of a modern cottage garden to a feminist manifesto, and the author's practical knowledge, imaginative ideas and general good sense will encourage and inspire gardeners everywhere.

In Prison Landscapes artist Alyse Emdur (born 1983) presents over 100 photographs of prison inmates presenting themselves in front of the idealized landscapes of painted visiting-room backdrops, posing with their visitors and pretending, for a moment, that they are elsewhere. Prison Landscapes explores this little-known genre of painting and portraiture seen only by inmates, visitors and prison employees. Created specifically for escape and self-representation, the paintings of tropical beaches, waterfalls, mountain vistas and cityscapes invite sitters to engage in fantasies of freedom. Prison Landscapes offers viewers a rare opportunity to see America's incarcerated population, not through the usual lens of criminality, but through the eyes of inmates' loved ones. The book includes correspondence with prisoners and an interview with prison artist Darrell Van Mastrigt.

"Prison Land: Mapping Carceral Power across Neoliberal America offers a geographic excavation of the prison as a set of social relations-including property, work, gender and race-enacted across various spatial forms and landscapes within American life"--

Prisons systematically dehumanise the imprisoned. Visualised through mugshots and surveillance recordings, the incarcerated lose control of their own image and identity. The criminal justice system in the United States does not only carry out so-called justice in ways that compound inequality, it also minimises the possibility for empathetic encounters with those who are most marginalised. It is therefore urgent to understand how prisoners are portrayed by the carceral state and how this might be countered or recuperated. How can understanding the visual representation of prisoners help us confront the invisible forms of power in the American prison system? Ethical Portraits investigates the representation of the incarcerated in the United States criminal justice system, and the state’s failure to represent those incarcerated humanely. Through wide-ranging interviews and creative nonfiction, Hatty Nestor deconstructs the different roles of prison portraiture, such as in courtroom sketches, DNA profiling, and the incarceration of Chelsea Manning.

During the nineteenth century, the colonial Straits Settlements of Singapore, Penang, and Melaka were established as free ports of British trade in Southeast Asia and proved attractive to large numbers of regional migrants. Following the abolishment of slavery in 1833, the Straits government transported convicts from the East India Company’s Indian presidencies to the settlements as a source of inexpensive labor. The prison became the primary experimental site for the colonial plural society and convicts were graduated by race and the labor needed for urban construction. Hidden Hands and Divided Landscapes investigates how a political system aimed at managing ethnic communities in the larger material context of the colonial urban project was first imagined and tested through the physical segregation of the colonial prison. It relates the story of a city, Singapore, and a contemporary city-state whose plural society has its origins in these historical divisions. A description of the evolution of the ideal plan for a plural city across the three settlements is followed by a detailed look at Singapore’s colonial prison. Chapters trace the prison’s development and its dissolution across the urban landscape through the penal labor system. The author demonstrates the way in which racial politics were inscribed spatially in the division of penal facilities and how the map of the city was reconfigured through convict labor. Later chapters describe penal resistance first through intimate stories of penal life and then through a discussion of organized resistance in festival riots. Eventually, the plural city ideal collapsed into the hegemonic urban form of the citadel, where a quite different military vision of the city became evident. Hidden Hands and Divided Landscapes is a fascinating and thoroughly original study in urban history and the making of multiethnic society in Singapore. It will compel readers to rethink the ways in which colonial urban history, postcolonial urbanism, and governance have been theorized by scholars and represented by governments.

The ’punitive turn’ has brought about new ways of thinking about geography and the state, and has highlighted spaces of incarceration as a new terrain for exploration by geographers. Carceral geography offers a geographical perspective on incarceration, and this volume accordingly tracks the ideas, practices and engagements that have shaped the development of this new and vibrant subdiscipline, and scopes out future research directions. By conveying a sense of the debates, directions, and threads within the field of carceral geography, it traces the inner workings of this dynamic field, its synergies with criminology and prison sociology, and its likely future trajectories. Synthesizing existing work in carceral geography, and exploring the future directions it might take, the book develops a notion of the ’carceral’ as spatial, emplaced, mobile, embodied and affective.