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People in Glass Houses
People in Glass Houses is an absurd comedy for six actors.
The Sweet Smell of Psychosis
Thrust into the seedy underworld of hack reporters and Soho drinking dens, young Richard Hermes is skidding down a cocaine slope of self-destruction in pursuit of the impossibly beautiful socialite-cum-columnist Ursula Bentley. But between Richard and his object of desire stands his omnipresent nemesis, the lubricious Bell, doyen of late night radio shows, provider of drugs and gossip, and ringmaster of the Sealink Club. Erudite and witty as ever, this hilarious novella is vintage Self at his acerbic, incisive best, brilliantly illustrated by Martin Rowson's sharp, dark, satirical pen.
Someone Like You
'A seriously cosy, super-fun romcom packed with humour and heart. I loved it!’ Portia MacIntosh What do you do when you realise you've fallen for your best friend, but he sees you as the sister he never had? And to make things worse, you're stuck in the middle of a matchmaking scheme to find him someone else! Best friends Gaby and Raff are inseparable and know each other inside out. But with Raff's string of disastrous relationships and his newfound fame as Britain’s Best Baker, it's time to enlist the Ever After Agency to help him find true love. At first, Gaby is all in – Raff is a catch, after all. But as she secretly helps to find his perfect match, she’s hit with unexpected pang...
County Genealogies
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Tangled Journeys
In 1830 Richard Walpole Cogdell, a husband, father, and bank clerk in Charleston, South Carolina, purchased a fifteen-year-old enslaved girl, Sarah Martha Sanders. Before her death in 1850, she bore nine of his children, five of whom reached adulthood. In 1857, Cogdell and his enslaved children moved to Philadelphia, where he bought them a house and where they became, virtually overnight, part of the African American middle class. An ambitious historical narrative about the Sanders family, Tangled Journeys tells a multigenerational, multiracial story that is both traumatic and prosaic while forcing us to confront what was unseen, unheard, and undocumented in the archives, and thereby inviting us into the process of American history making itself.
