Brian Dillon – författare

In Suppose a Sentence, Brian Dillon turns his attention to the oblique and complex pleasures of the sentence. A series of essays prompted by a single sentence – from Shakespeare to Gertrude Stein, John Ruskin to Joan Didion – the book explores style, voice, and language, along with the subjectivity of reading. Both an exercise in practical criticism and a set of experiments or challenges, Suppose a Sentence is a polemical and personal reflection on the art of the sentence in literature. Whether the sentence in question is a rigorous expression of a state of vulnerability, extremity, even madness, or a carefully calibrated arrangement, Dillon examines not only how it works and why but also, in the course of the book, what the sentence once was, what it is today, and what it might become tomorrow.

Imagine a type of writing so hard to define its very name means a trial, effort or attempt. An ancient form with an eye on the future, a genre poised between tradition and experiment. The essay wants above all to wander, but also to arrive at symmetry and wholeness; it nurses competing urges to integrity and disarray, perfection and fragmentation, confession and invention.  How to write about essays and essayists while staying true to these contradictions? Essayism is a personal, critical and polemical book about the genre, its history and contemporary possibilities. It’s an example of what it describes: an essay that is curious and digressive, exacting yet evasive, a form that would instruct, seduce and mystify in equal measure. Among the essayists to whom he pays tribute – from Virginia Woolf to Georges Perec, Joan Didion to Sir Thomas Browne – Brian Dillon discovers a path back into his own life as a reader, and out of melancholia to a new sense of writing as adventure.

'It's so good that, after reading it, I needed a lie-down' - Hilary Mantel, Guardian Books of the YearBrian Dillon looks at nine prominent hypochondriacs - James Boswell, Charlotte Brontë, Charles Darwin, Florence Nightingale, Daniel Paul Schreber, Alice James, Marcel Proust, Glenn Gould and Andy Warhol - and what their lives tell us about the way the mind works with, and against, the body. His findings are stimulating and surprising, and the stories he tells are often moving, sometimes hilarious, and always gripping. With a new afterword on Michael Jackson.Brian Dillon's first book, In the Dark Room, won the Irish Book Award for Non-fiction in 2006. He lives in Canterbury.

Blackstone's Emergency Planning, Crisis, and Disaster Management is a practical guide for those involved in all aspects of emergency preparedness, resilience, and response. Primarily focused on the requirements of the Civil Contingencies Act 2004, it has been developed from the highly regarded Emergency Planning Officers' Handbook. The complete toolkit for anyone involved in emergency planning, business continuity, and resilience management, this must-have guide offers a comprehensive, chronological guide to each stage of emergency planning, from creating a plan or exercise through to setting up a control room and debriefing for future improvement and development. There is also full coverage of how the emergency response is managed by each of the main agencies involved, helping you to gain a greater understanding of what to expect from each agency and the individuals participating, so they can be better integrated into an exercise or plan. Overviews at the start of each chapter, key point and top tip boxes, as well as tasks and flowcharts provide you with the complete reference, whether you are beginning your emergency planning or simply need to refresh your memory as you initiate an exercise.

Renowned for his powerful portrayals of our collective culture and history, Wilhelm Sasnal draws on found images from his surroundings, newspapers and magazines, billboards, and the Internet, creating works of art that act as an archive to the mass of sprawling images that flood contemporary life. His work addresses weighty historical themes such as the Holocaust, or familiar pop-cultural icons, as well as the people, places, and quotidian objects he encounters, constituting an artistic document of postcommunist Poland at a time of sociopolitical transformation. With a concise approach to his subject matter, Sasnal captures stolen moments in time. His graphic treatment of light and color suggests a camera s gaze, imbuing the canvases with a filmic quality. This major volume is completed by a series of essays addressing significant themes in the artist s work: alienation, portraiture, the personal versus the public, and history as a prism of reflection.

This title was first published in 2000: A study of the diffusion and effective use of ICT in industry in Hungary, Poland, Lithuania and Ukraine. It explores quantitative and qualitative overviews of the current state of affairs with respect to computer-networking in industry, and examines prospects and obstacles.

This title was first published in 2000: A study of the diffusion and effective use of ICT in industry in Hungary, Poland, Lithuania and Ukraine. It explores quantitative and qualitative overviews of the current state of affairs with respect to computer-networking in industry, and examines prospects and obstacles.

What do we mean when we claim affinity with an object or picture, or say affinities exist between such things? Affinities is a critical and personal study of a sensation that is not exactly taste, desire, or allyship, but has aspects of all. Approaching this subject via discrete examples, this book is first of all about images that have stayed with the author over many years, or grown in significance during months of pandemic isolation, when the visual field had shrunk. Some are historical works by artists such as Julia Margaret Cameron, Dora Maar, Claude Cahun, Samuel Beckett and Andy Warhol. Others are scientific or vernacular images: sea creatures, migraine auras, astronomical illustrations derived from dreams. Also family photographs, film stills, records of atomic ruin. And contemporary art by Rinko Kawauchi, Susan Hiller and John Stezaker. Written as a series of linked essays, interwoven with a reflection on affinity itself, Affinities is an extraordinary book about the intimate and abstract pleasures of reading and looking.

When Brian Dillon was sixteen his mother died and he simply gave up all schoolwork. While he courted exam failure, his real education was going on elsewhere: with books, music, films and television. When at last he made it to university, his head was already full of avant-garde writing, art and ideas. Could academia live up to the hopes and dreams he had invested in it? Halfway through college his father died, and the stakes of reading and writing seemed even higher. Ambivalence explores what learning meant to its author, what it enabled and denied, between the ages of seventeen and twenty-six, when he left his native Dublin. It's at once a memoir of that city in the 1980s and 1990s, an uncynical portrait of the adolescent and early-adult mind, and an intimate defence of radical thinking about literature and life.In vivid present-tense fragments, Dillon describes his first encounters with writers such as Virginia Woolf, Walter Benjamin, Samuel Beckett, Roland Barthes and Jacques Derrida. He recalls being seduced by ambivalence, ambiguity and androgyny – on the page and in the life he hoped his reading would transfigure. The era he describes seemed to demand new ways of thinking about aesthetics and politics. Today, when rights are fragile, arts and humanities attacked, and students dismissed as radicals or narcissists, Ambivalence is an argument for the poetic and revolutionary force of changing yourself and even the world by changing what you know.

Boldly combining the highly personal with the brilliantly scholarly, In the Dark Room explores the question of how memory works emotionally and culturally. It is narrated through the prism of the author's experience of losing both his parents, his mother when he was sixteen, his father when he was on the cusp of adulthood and of trying, after a breakdown some years later, to piece things together. Drawing on the lessons of centuries of literature, philosophy and visual art, Dillon interprets the relics of his parents and of his childhood in a singularly original and arresting piece of writing reissued for the first time since its original publication in 2005, and including a new foreword from prize-winning biographer Frances Wilson.

Bianca Brunner is a young Swiss photographic artist whose work has gained considerable international recognition and acclaim. Following a degree in visual communication at the School of Art and Design Zurich in 1997 she continued her artistic education at the London College of Communication and the Royal College of Art London. In 2005 she was selected to participate in the travelling exhibition 'ReGeneration: 50 Photographers of Tomorrow', concieved by the Musee de l'Elysee in Lausanne (Switzerland) and shown also in Milan (2005), New York (2006) and Pingyao (China, 2006). She has been featured also in several group exhibitions in London, Madrid, Germany, Belgium and Italy. Her work is represented in the permanent collections of the Aperture Foundation (New York City), the University Art Collection (London) and the Musee de l'Elysee (Lausanne, Switzerland), and has been published in several books. Brunner has also been awarded several prizes in the UK and Switzerland. 'Bianca Brunner: Gap in the Real' is the first monograph on Brunner's work, presenting around 50 of her recent images.The majority have not been published before and will be shown for the first time in a solo exhibition at the Bundner Kunstmuseum Chur (Chur, Switzerland) in autumn 2010.