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Welcome to an after-dark world of new money, hedonism and excess. A world of luxurious nightclubs where racketeers, gamblers and glamorous women mixed with entrepreneurs, bunny girls, politicians and policemen. Bandit Country is a gripping, atmospheric true-crime noir. It is the story of Britain’s 1960’s gambling boom, as the country emerged from years of hardship to embrace exotic night-life and entertainment, all supplied by the Mafia. It is an emotional, visceral story of brothers: the Luvaglios, who dreamed of an empire founded among the hard industrial skylines and bridges of Newcastle, built on good times and bright lights – dreams that, for a moment, were lived in technicolour; and the Kray twins, who looked up to this new kingdom from London and saw a slice of action they wanted for themselves. And above all, it is a story of betrayal, murder and a shocking miscarriage of justice, as empires crumble, friends turn on friends, and the good times come screeching to a halt. Sure to be loved by fans of Peaky Blinders, this story – that inspired classic British gangster film Get Carter – isn’t quite like anything you’ve read before. Turn the page and roll the dice…

One of a handful of outstanding British photographers of her generation, Ker-Seymer’s work defined a talented, forward-looking network of artists, dancers, writers, actors and musicians, all of whom flocked to her Bond Street studio. Among her sitters were Evelyn Waugh, Margot Fonteyn, Cyril Connolly, Jean Cocteau and Vita Sackville-West. Barbara Ker-Seymer (1905-1993) disdained lucrative ‘society’ portraits in favour of unfussy ‘modern’ images. Her work was widely admired by her peers, among them, Man Ray and Jean Cocteau. Her images as a gossip-column photojournalist for Harper’s Bazaar were the go-to representations of the aristocracy and Bright Young Things at play. Yet as both a studio portraitist and a photojournalist, she broke with convention.

Equally unconventional in her personal life, Ker-Seymer was prefigurative in the way she lived her life as a bisexual woman and in her contempt for racism, misogyny and homophobia. Fiercely independent, for much of her life she rejected the idea of family, preferring her wide set of creative friends, with the artist Edward Burra, ballet dancer William ‘Billy’ Chappell and choreographer Frederick Ashton at its core.

Today, Ker-Seymer’s photographs are known for whom they represent, rather than the face behind the camera, an irony underpinned by the misattribution of some of her most daring images to Cecil Beaton. Yet her intelligence, sparkle, wit and genius enabled her to link arms with the surrealists, the Bloomsbury Group, the Bright Young Things and, most gloriously, the worlds of theatre, cabaret and jazz.

With unprecedented access to private archives and hitherto unseen material, Sarah Knights brings Barbara Ker-Seymer and her brilliant bohemian friends vividly to life.

Forestry in Ireland has never been so contentious. It is the subject of protests outside parliament and angry call-in radio shows. Over the last century the area of Irish woodland has increased tenfold, mostly through the planting of imported conifer species: government policy is to plant more trees to supply industry and to tackle climate change, both urgent priorities. But there has been a backlash from farmers, local communities, environmentalists and EU regulators. The rate of new planting has plummeted. And the reality is that up to one-third of the new plantations are failed forests that should never have been planted in the first place. So how did we end up in this peculiar situation? Island of Woods takes a sweeping historical view, tracing the history of Irish forests over the last 10,000 years. It examines the state of Irish forestry today and sketches a way forward for our woods that balances commercial, environmental and social goals – a vision of a different type of forestry that could transform the Irish landscape and re-establish a genuine tree culture in the country.

This comprehensive and engaging overview of the history of Irish forestry relates historical events to present-day concerns and controversies, drawing out general themes that echo throughout the centuries. It will appeal to anyone who cares about the Irish landscape and environment.