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Peripheral Vision
Sylvia, a brilliant and successful eye surgeon, reacts to the discovery that she is pregnant with amazement, despite taking no precautions -- Iris is a timid young woman in love with a man from a different social stratum -- And Ruby is a 1950's housewife who receives poison pen letters, which she believes she thoroughly deserves.
Aren't We Sisters?
Following on from The Midwife's Daughter, Aren't We Sisters? is a gripping novel about buried secrets and unlikely friendship. Norah Thornby can no longer afford to live in her grand family home in the centre of Silkhampton. Unless, perhaps, she can find a respectable lodger. But Nurse Lettie Quick is not nearly as respectable as she seems. What's really going on at the clinic she has opened? And why has she chosen Silkhampton? Meanwhile the beautiful Rae Grainger has found the perfect place to stay, in an isolated house miles away from the town. It's certainly rather creepy, especially at candlelit bedtime, but Rae knows that all she has to do is stay out of sight, until others - paid, professional others - are ready to take her little problem away. Then she can just forget the whole ghastly business . . . can't she? No one guesses, of course, that there's a killer quietly at work in Silkhampton; that in one way or another all three women are in danger . . .
The One I Saw
'I never told anyone about my ghost, the one I saw . . .' In this short, spine-tingling story, author of The Midwife's Daughter and Aren't We Sisters? Patricia Ferguson tells the tale of a nurse who remembers her early days working in a neonatal unit. Praise for Patricia Ferguson: 'She draws on years of experience working as a nurse and midwife to produce acute, skilful descriptions' FT 'Hugely enjoyable, classic storytelling' Red Patricia Ferguson trained in nursing and midwifery, and her first book, Family Myths and Legends, won the Betty Trask, David Higham and Somerset Maugham awards. It So Happens and Peripheral Vision were both longlisted for the Orange Prize. Her most recent books, The Midwife's Daughter and Aren't We Sisters? are published by Penguin. Patricia Ferguson lives in Bristol.
Indefinite Nights
Patricia Ferguson, short-listed for the 2005 Orange Prize for Literature with her novel It So Happens, brings together here a collection of stories drawn on her experiences as a nurse and midwife. Written in clear, straightforward prose, these stories display a wicked sense of humour and compassionate perception, bringing the hospital ward into sharp focus.
It So Happens
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The Midwife's Daughter
A BBC Radio 4 Book at Bedtime. The new novel from Orange Prize listed author Patricia Ferguson is a deeply moving tale about two sisters and the young black orphan who changes their lives - for anyone who loves Call the Midwife or Andrea Levy. Violet Dimond, the Holy Terror, has delivered many of the town children - and often their children - in her capacity as handywoman. But Violet's calling is dying out as, with medicine's advances, the good old ways are no longer good enough. Grace, Violet's adopted daughter, is a symbol of change herself. In the place where she has grown up and everyone knows her, she is accepted, though most of the locals never before saw a girl with skin that colour. ...
Pots, Prints and Politics
From the introduction of woodblock printing in China to the development of copper-plate engraving in Europe, the print medium has been used around the world to circulate knowledge. Ceramic artists across time and cultures have adapted these graphic sources as painted or transfer-printed images applied onto glazed or unglazed surfaces to express political and social issues including propaganda, self-promotion, piety, gender, national and regional identities. Long before photography, printers also included pots in engravings or other two-dimensional techniques which have broadened scholarship and encouraged debate. Pots, Prints and Politics examines how European and Asian ceramics traditionally associated with the domestic sphere have been used by potters to challenge convention and tackle serious issues from the 14th to the 20th century. Using the British Museum's world-renowned ceramics and prints collections as a base, the authors have challenged and interrogated a variety of ceramic objects - from teapots to chamber pots - to discover new meanings that are as relevant today as they were when they were first conceived.
Family Myths and Legends
Joan idly considers ways of murdering her odious mother, Lily, with whom she is trapped in co-dependence, while her sisters Cissie and Jessie have escaped into marriages and now have grown up children of their own to compete over. Then Lily is taken into hospital and the family rallies round to do up the old house she and Joan have lived in for over forty years. Like most families they have their own often apocryphal myths and legends, but one shocking discovery is set to destabilise the hierarchy of family lives for ever.
Patricia's Vision
This is the inspiring story of Dr. Patricia Bath, a groundbreaking ophthalmologist who pioneered laser surgery--and gave her patients the gift of sight. Dr. Bath's interest in helping blind people started when she was six years old. All the doctors she knew were men, but she saw possibility when others couldn't. Her remarkable story is sure to inspire and empower kids around the world.
The Killing Season Uncut
Australians came to the ABC's The Killing Season in their droves, their fascination with the Rudd-Gillard struggle as unfinished as the saga itself. Rudd and Gillard dominate the drama as they strain to claim the narrative of Labor's years in power. The journey to screen for each of their interviews is telling in itself. Kevin Rudd gives his painful account of the period and recalled in vivid detail the events of losing the prime ministership. Julia Gillard is frank and unsparing of her colleagues. More than a hundred people were interviewed for The Killing Season--ministers, backbenchers, staffers, party officials, pollsters and public servants--recording their vivid accounts of the public and private events that made the Rudd and Gillard governments and then brought them undone. It is a damning portrait of a party at war with itself: the personal rivalries and the bitter defeats that have come to define the Rudd-Gillard era. "The making of The Killing Season matched the drama on screen and that's a story we wanted to tell. And now we have a place for the episodes of rich material we could have put into a 5-part series." -- Sarah Ferguson
