Nigel Williams

To Hell and back ... literally. A nameless killer only murders those with whom he shares a close and loving bond, believing their death by his loving hand will result in their relationship existing for eternity. Killing them isn't just a visceral sensation; it's an unexplained metempsychosis. Next in his sights is Laura. Used to being overlooked, Laura falls right into place with his circle of life and death. But Laura isn't like anyone before; when he kills her, it's unique. It's unbridled bliss. It's perfection. And it drops him right into the depths of Hell. Aided and tormented in equal measure by his victims and truest love in this descent, he's entangled in a deadly conflict with the most brutal and sadistic killer to have ever lived. Their paths entwine in a violent dance where all-even the abused dead-will receive a justice from which they will never recover.

This book is grounded in psychosocial research that explores the complex intergenerational transmission of memories within families and the transgenerational social issues that form a part of those memories. The author demonstrates that the organising framework of moving back and forth between inter- and transgenerational processes is key to mapping those relationships leading to the ideas of generational companionship, a multigenerational self and intergenerational mentalisation. Drawing on sociological and psychoanalytic approaches, it provides a framework for thinking about continuity and discontinuity in the lives of individuals and in the longer sweep of the generations. The role and potential for a psychosocial approach in deep-level problem solving is addressed through chapters on psychotherapy and on psychosocial interventions. Social imagination in personal and social healing is a core theme, as is the study of the relationship between creative and destructive forces that playout in human life. The book will be an invaluable resource for students and scholars of psychosocial research and psychotherapy as well as in memory studies, history, genealogy and social theory.

This book is grounded in psychosocial research that explores the complex intergenerational transmission of memories within families and the transgenerational social issues that form a part of those memories. The author demonstrates that the organising framework of moving back and forth between inter- and transgenerational processes is key to mapping those relationships leading to the ideas of generational companionship, a multigenerational self and intergenerational mentalisation. Drawing on sociological and psychoanalytic approaches, it provides a framework for thinking about continuity and discontinuity in the lives of individuals and in the longer sweep of the generations. The role and potential for a psychosocial approach in deep-level problem solving is addressed through chapters on psychotherapy and on psychosocial interventions. Social imagination in personal and social healing is a core theme, as is the study of the relationship between creative and destructive forces that playout in human life. The book will be an invaluable resource for students and scholars of psychosocial research and psychotherapy as well as in memory studies, history, genealogy and social theory.

Retired bank manager George Pearmain is, apparently, dead. According to the behaviour of everyone around him, it would seem that he is no more. Not only that, but his mother has also passed away too - and on the eve of her 99th year, poor dear. Not only that, it could be that they were both murdered. He feels fine otherwise.As George's family gather for the birthday-celebration-that-never-was, he hovers around the house, watching and listening, entirely unseen. As a result, he makes all sorts of discoveries about himself, his wife Esmeralda and his supposedly happy family . . . Screamingly funny and strange, it asks the question: What if you could bear witness to your own demise?

When Elizabeth Price engages private detective Roland 'Orlando' Gibbons to find out the truth about her husband's suspected affair, she unwittingly sets off a chain of correspondence that reunites four formerly close-knit couples. They all live just a few suburban streets away from each other; they are all still married; so how - and why - did they become so estranged? In a series of letters - from love notes to condolence messages (the latter one arriving some years late) - each protagonist is far more self-revealing than they would ever be in person. The result is an uproarious and poignant portrait of four marriages, and a story about how little we know those we think we know best.Nigel Williams' new novel of suburban intrigue and late-flowering lust (and love) Unfaithfully Yours heralds the return of one of the country's finest comic writers, in peak condition: all hail Nigel Williams, chronicler of England's sleepy suburbs, where all is not quite as cricket as it seems . . .

A welcome re-issue of Nigel William's modern classic of comic writing.

Robert Wilson is an aimless, chronically untruthful young Englishman who has passed himself off as a Muslim, in order to secure a job at the newly established Wimbledon Independent Islamic Boys' Day School. East of Wimbledon is the hilarious story of Mr Wilson's decline and fall, as he demonstrates the failure of a post-colonial Briton to understand another great imperial culture that has absolutely no need of him.

The hilarious second book in Nigel William's comic trilogy set in Wimbledon, delightfully re-issued with a stunning new cover.

Cultural and Technological Influences on Global Business is a leading publication in its field that emphasises the importance of deeply exploring developing cultures and technologies and their effects on the business sector. This reference source is beneficial for professionals, researchers, and practitioners who wish to broaden their understanding the direct relationship between culture and technology in the international business realm.

Playwright and novelist Nigel Williams's stage adaptation of William Golding's story was first professionally produced by the Royal Shakespeare Company at Stratford-upon-Avon in July 1995. 'Remarkably true to the novel in spirit . . . the theatre lends itself particularly well to the ritualistic aspects of the story - chanting, dancing, marching, forming a circle round the victim, stamping out a fire . . . You end up feeling you have seen a fable of infinite implications enacted in a little room.' Sunday TelegraphThis special acting edition, particularly suitable for schools and amateur groups, contains the full playtext as well as notes on staging, a full properties list and lighting and sound cues.