Women's lives in Wales are changing dramatically. They are becoming increasingly important to the world of paid work, while retaining their roles and responsibilities in the home. The pattern of family life has shifted, to the much vaunted growth of single parents, and the increase of elderly women living alone. Many women are increasingly active in public life, but meet barriers to their success, whether the arena be returning to study as mature students, the church, business, the arts or literature: they are expected to fit into a male world. Women's lives are very diverse, and their changing identity as they manage the balance between private and public lives has been as yet realtively uncharted. This text brings together a collection of interdisciplinary research papers on the changing identity of women in Wales. Research findings are complemented by cameo "voices" - personal accounts by a variety of individual women living and working in Wales. The volume is illustrated with photographs especially commissioned from the photographer Mary Giles.

Edward Said experienced both British and American imperialism as the old Arab order crumbled in the late 1940s and early 1950s. This account of his early life reveals how it influenced his books Orientalism and Culture and Imperialism. Edward Said was born in Jerusalem and brought up in Cairo, spending every summer in the Lebanese mountain village of Dhour el Shweir, until he was 'banished' to America in 1951. This work is a mixture of emotional archaeology and memory, exploring an essentially irrecoverable past. As ill health sets him thinking about endings, Edward Said returns to his beginnings in this personal memoir of his ferociously demanding 'Victorian' father and his adored, inspiring, yet ambivalent mother.

Organising with others for human, animal and earth liberation can be one of the most empowering experiences alive. Yet frontline resistance comes with risks to our physical and emotional health that can lead many people to burn out and abandon social movements altogether.

This book is about overcoming burnout, linking the author’s journey of recovery with wider systemic forces such as classism, sexism and power dynamics in groups, poverty, chronic illness and ableism, as well as grief and trauma from prison and state repression. It is a call for models of mutual aid and collective care. Simultaneously deeply personal and acutely political, for anyone involved in grassroots organising, it is a must read.

The topic of parental involvment in children's education continues to generate great interest both personally and politically. It affects all professionals in education as well as parents and parent representatives. The case for involving parents in thier children's development and education has been established by numerous studies and many schools are committed to pursiin home-school linls.

Arguing that 'education is freedom', Paulo Freire's radical international classic contends that traditional teaching styles keep the poor powerless by treating them as passive, silent recipients of knowledge. Grounded in Freire's own experience teaching impoverished and illiterate students in his native Brazil and over the world, this pioneering book instead suggests that through co-operation, dialogue and critical thinking, every human being can develop a sense of self and fulfil their right to be heard.

Through a combination of oral history and documented sources, the author studies examples of popular protests in nineteenth century Wales.

Pipe Dreams is a zine publication documenting shisha culture in North West London created and co-produced by Zain Dada.  It tells the stories of shisha cafe owners & other Arab businesses- on their experiences of turning an industrialised area of London into a cultural hub for Arab diasporas across the UK. The zine also features an interview with Toronto-based curator, Mitra Fakhrashrafi who researched the impact of a by-law in Toronto which banned shisha in 2015.

This publication formed part of Shubbak Festival 2021 - Europe’s largest biennial festival of contemporary Arab culture. The production team consisted of British–Tunisian photographer Sana Badri, artist and filmmaker Nur Hannah Wan, writers Zain Dada and (and co-produced by) Nabil Al-Kinani, and graphic designer Walid Bouchouchi.

Born in Baghdad in 1945, now living in London, Fawzi Karim is one of the most compelling voices of the exiled generation of Iraqi writers. In the first collection of his poetry to appear in English, his long sequence Plague Lands' is an elegy for the life of a lost city, a chronicle of a journey into exile, haunted by the deep history of an ancient civilisation. Memories of Baghdad's smoke-filled cafés, its alleys and mulberry-shaded squares, the tang of tea, of coffee beans...arak, napthalene, damp straw mats', are recalled with painful intensity. Karim's defiant humanity, rejecting dogma and polemic, makes him a necessary poet for fractured times. Working closely with the author, the poet Anthony Howell has created versions of Plague Lands' and a selection of Karim's shorter poems. Notes on the poems, Elena Lappin's introduction and an afterword by Marius Kociejowsky exploring Karim's life, illuminate the context of the poetry.

The book provides an insight into the issues related to the occupation of Palestine - the plans of the foreign powers, the role of the regimes in the Middle Eastm the origina and reality of the PLO, the viability of the Pleastinian state, and the solution from Islam.

Potiki is a novel by New Zealand author Patricia Grace. First published in 1986, the book is a significant work in contemporary Māori literature, and explores themes of cultural identity, land rights, and the impacts of urban development on indigenous communities. It was critically and commercially successful, and received the New Zealand Book Award for Fiction in 1987. It was published during the Māori renaissance, a period of time in which Māori culture and language was experiencing a revitalisation, and academics have described it as being part of that movement. Due to its themes of Māori resistance to colonialisation, the novel was viewed by some critics as political, although Grace has said that her intention was to write about people living ordinary lives. It was also unusual for its time in not including an English glossary of te reo Māori (Māori language) words, on the basis that Grace did not want Māori to be "treated as a foreign language in its own country".