Ashley Miller – författare

A brilliant detective story for readers of 10+, from the screenwriters of X Men First Class and Thor. A must-read for anyone who loved The Curious Incident of the Dog in the Night-time. 'Fans of John Green and Sarah Dessen will like this book very much' Publishers WeeklyColin Fischer is 14 and he has Asperger's. A lot of the world is a mystery to Colin - he can't read his classmates' expressions without looking at a chart, the colour blue is really off-putting and he has no idea why his parents like to hug him. But when a gun goes off in the school cafeteria one lunchtime, Colin knows he can work out who did it. Colin loves cool, hard logic. His hero is Sherlock Holmes. Only Colin can piece together the puzzle that links chocolate cake, a dodgy gangster, a cheerleader and a very unlikely suspect.

From the Romantic fascination with hallucinatory poetics to the turn-of-the-century mania for automatic writing, poetry in nineteenth-century Britain appears at crucial times to be oddly involuntary, out of the control of its producers and receivers alike. This elegant study addresses the question of how people understood those forms of written creativity that seem to occur independently of the writer's will. Through the study of the century's media revolutions, evolving theories of physiology, and close readings of the works of nineteenth-century poets including Wordsworth, Coleridge and Tennyson, Ashley Miller articulates how poetry was imagined to promote involuntary bodily responses in both authors and readers, and how these responses enlist the body as a medium that does not produce poetry but rather reproduces it. This is a poetics that draws attention to, rather than effaces, the mediacy of the body in the processes of composition and reception.

From the Romantic fascination with hallucinatory poetics to the turn-of-the-century mania for automatic writing, poetry in nineteenth-century Britain appears at crucial times to be oddly involuntary, out of the control of its producers and receivers alike. This elegant study addresses the question of how people understood those forms of written creativity that seem to occur independently of the writer's will. Through the study of the century's media revolutions, evolving theories of physiology, and close readings of the works of nineteenth-century poets including Wordsworth, Coleridge and Tennyson, Ashley Miller articulates how poetry was imagined to promote involuntary bodily responses in both authors and readers, and how these responses enlist the body as a medium that does not produce poetry but rather reproduces it. This is a poetics that draws attention to, rather than effaces, the mediacy of the body in the processes of composition and reception.

This collection explores the dynamic place of Muslim visual and expressive culture in processes of decolonization across the African continent. Presenting new methodologies for accentuating African agency and expression in the stories we tell about Islamic art, it likewise contributes to recent widespread efforts to “decolonize” the art historical canon.The contributors to this volume explore the dynamic place of Islamic art, architecture, and creative expression in processes of decolonization across the African continent in the twentieth and twenty-first centuries. Bringing together new work by leading specialists in the fields of African, Islamic, and modern arts and visual cultures, the book directs unprecedented attention to the agency and contributions of African and Muslim artists in articulating modernities in local and international arenas. Interdisciplinary and transregional in scope, it enriches the under-told story of Muslim experiences and expression on the African continent, home to nearly half a million Muslims, or a third of the global Muslim population.Furthermore, it elucidates the role of Islam and its expressive cultures in post-colonial articulations of modern identities and heritage, as expressed by a diverse range of actors and communities based in Africa and its diaspora; as such, the book counters notions of Islam as a retrograde or static societal phenomenon in Africa or elsewhere. Contributors propose new methodologies for accentuating human agency and experience over superficial disciplinary boundaries in the stories we tell about art-making and visual expression, thus contributing to widespread efforts to decolonize scholarship on histories of modern expression.

This collection explores the dynamic place of Muslim visual and expressive culture in processes of decolonization across the African continent. Presenting new methodologies for accentuating African agency and expression in the stories we tell about Islamic art, it likewise contributes to recent widespread efforts to “decolonize” the art historical canon.The contributors to this volume explore the dynamic place of Islamic art, architecture, and creative expression in processes of decolonization across the African continent in the twentieth and twenty-first centuries. Bringing together new work by leading specialists in the fields of African, Islamic, and modern arts and visual cultures, the book directs unprecedented attention to the agency and contributions of African and Muslim artists in articulating modernities in local and international arenas. Interdisciplinary and transregional in scope, it enriches the under-told story of Muslim experiences and expression on the African continent, home to nearly half a million Muslims, or a third of the global Muslim population.Furthermore, it elucidates the role of Islam and its expressive cultures in post-colonial articulations of modern identities and heritage, as expressed by a diverse range of actors and communities based in Africa and its diaspora; as such, the book counters notions of Islam as a retrograde or static societal phenomenon in Africa or elsewhere. Contributors propose new methodologies for accentuating human agency and experience over superficial disciplinary boundaries in the stories we tell about art-making and visual expression, thus contributing to widespread efforts to decolonize scholarship on histories of modern expression.