Fiona Cameron

The coauthors of this theoretically innovative work explore the relationships among anthropological fieldwork, museum collecting and display, and social governance in the early twentieth century in Australia, Britain, France, New Zealand, and the United States. With case studies ranging from the Musée de l'Homme's 1930s fieldwork missions in French Indo-China to the influence of Franz Boas's culture concept on the development of American museums, the authors illuminate recent debates about postwar forms of multicultural governance, cultural conceptions of difference, and postcolonial policy and practice in museums. Collecting, Ordering, Governing is essential reading for scholars and students of anthropology, museum studies, cultural studies, and indigenous studies as well as museum and heritage professionals.

The coauthors of this theoretically innovative work explore the relationships among anthropological fieldwork, museum collecting and display, and social governance in the early twentieth century in Australia, Britain, France, New Zealand, and the United States. With case studies ranging from the Musée de l'Homme's 1930s fieldwork missions in French Indo-China to the influence of Franz Boas's culture concept on the development of American museums, the authors illuminate recent debates about postwar forms of multicultural governance, cultural conceptions of difference, and postcolonial policy and practice in museums. Collecting, Ordering, Governing is essential reading for scholars and students of anthropology, museum studies, cultural studies, and indigenous studies as well as museum and heritage professionals.

The linguistic pleasures of this collection almost but never quite disguise the seriousness of its feminist and environmental messages; the importance of protecting space - intellectual, psychical/emotional and ecological - 'the space where you will grow'. This is a poetry about responsible stewardship of living things: growing and feeding and working for 'a home that is working', whilst maintaining the essentials of experiment and play. In other words, 'uphold ing] a sense of order in / wildness of openness'. At its centre is the alarming realization that humans are in the process of upending the course of nature and thus our own futures. She who may be Radon sees this and how it will affect everything, from the humdrum domestic to sea levels and species extinction. The poetry's axes, then, are not just spatial, they are temporal too. They navigate other histories of motherhood, dwelling and 'untended memory', as well as project forward to a time when 'our way of life will come to an end'.She May Be Radon is a mine, as well as an 'open field', of ideas worth preserving and incantations against dead ones. 'Oh layers ' We would do well to heed its importance.- Emily CritchleyFiona Cameron's poetry is keenly attuned to the multiple voices, dreams and hauntings that bubble up to give meaning to shared spaces, whether those of domestic existence, the informational buzz of the media, or the weathers and textures of a constantly changing planet. The airy spaces of the poems on the page create room for generosity, humour and a collective hope that persists despite the fragility of language and its shimmering connections.- Z e Skoulding

Kirkcudbright-based crime writer Fergus Learmonth is determined to find a way to extricate his wife, Belle, from the influence of her sinister friend, Remi McGregor. After he agrees to help DI Tom Ellis solve the mystery of three people who have vanished from the area without trace, Fergus discovers that his suspicions about Remi are well-founded. And worse is to come... A heady mix of domestic drama and crime, set in the beautiful South West of Scotland. A sequel to A Sensible Woman