Bøger udgivet af Trolley Books

Photographic portraits by British photographer Siân Davey taken in her garden at home in Devon, starting as barren patch of land she filled it with wild flowers, transforming it into a space of inclusivity and belonging for her sitters.

A Purple Heart is the honour given toa US soldier for their wounds as theyreturn from war. Accompanying theimages are first person interviewswith the soldiers as they discuss whythey enlisted and their experiencesin Iraq, as well as their lives now andthe prospect of living as disabledveterans.

Phil & Me is a personal document of a daughter's use of photography to try to control her relationship with her father and the disease that has crippled him, as well as an attempt to focus public understanding upon the essential humanity, the worth and contribution, of all victims of schizophrenia.>The book juxtaposes Philip's poetry with black and white images of him taken during the sporadic meetings with Amanda. The photographs encompass a period of six years and the poetry eight years. Photo-booth pictures that span the past twenty-seven years form the thread that binds the surreal visual and poetic narrative. Phil & Me evolved into a collaboration between father and daughter after Amanda asked Philip to try to write again. Since then he has given her scraps of paper and napkins full of poetry at every meeting.Philip's poetry immerses us into the reality of his days - moving through the cafes and parks of Montreal his habitual Mickey of vodka in hand, where many of his acquaintances are street kids, squirrels, crows and seagulls. His are the musings of a man who has survived a crippling disease - a disease rarely discussed and more often disowned.Phil & Me tells the stories of many, through the experience of one, and gives passionate voice to those who rarely speak out and are even more rarely heard.

Hide That Can brings together images taken over four years at Arlington House, Camden, a hostel which primarily accommodates male Irish emigrants. Most of them are alcoholic. Often sad, interspersed with lighter touches of humour, the book is a record of lives that function without families, jobs or prospects, yet are still portrayed with a sense of dignity amid the depression.>A picture of Arlington House in the past can be found in George Orwell's Down and Out in Paris and London. It is not pleasant. Now the photographer Deidre O'Callaghan has brought together four year's work at the refuge, her record of the despair, humour and hope on the faces of the residents, a remarkable gallery of a largely expatriate community at odds with the world outside. But her pictures also record the work of the hostel itself in trying to reintegrate the residents into that world, photographs of clarity and wonder taken during trips to Ireland for the inmates. Some have lived at Arlington House for 30 years; many have not seen their families for as long. Her pictures of these reunions with their kin and their country are remarkable.

Intimate and poignant black and white photographs from the Broderip and Charles Bell wards at the Middlesex Hospital in 1993, the first dedicated HIV wards in London.>These two wards at The Middlesex Hospital were some of the few dedicated AIDS wards that existed in London, and even more unusual for their decision to open themselves to being photographed. Considering the high levels of stigma and fear that existed at the time, the decision of these four patients to allow themselves, alongside their families, lovers and friends to be photographed was an act of considerable bravery.During his time at the hospital, he photographed their treatment and many other aspects of ward life, including the intimate way in which the staff, patients and their families related to one another. Treatment was not a passive process, but rather an active engagement on the part of the patients, who were often extremely knowledgeable about their condition. The staff, too, became far more attached to their patients than was commonplace in hospitals at the time.All of the patients in these photographs died soon after the pictures were taken. They were the unlucky ones, who became sick just before treatment became available. 'The Ward' explores through Gideon Mendel's evocative black and white photographs how it felt to live with HIV at this time when it was considered a veritable death sentence. It shows how the ward at the Middlesex Hospital became more like a second home, and the staff and patients friends.