I have written on a broad range of topics over the past two decades. All my books and essays have tended to explore the unforeseen transformations of people who find themselves, for one reason or another, in pieces.

I have recently finished a book about the relationship between the moving image and recovery from complex trauma entitled Post-Traumatic Attachments to the Eerily Moving Image: Something to Watch Over Me (Routledge, 2021). This is the result of several years of research into the relationship between developmental trauma and particular habits of film-watching.

This book grew out of some of the half-formed ideas that hovered in the margins of an earlier book I wrote about the French author Marie NDiaye: Marie NDiaye: Blankness and Recognition (Liverpool: Liverpool University Press, 2013)

The book also grew out of ideas from a volume I edited in 2018 entitled Sanity, Madness and the Family: A Retrospective, which was a special issue of the Journal of Psychosocial Studies (11: 1), April 2018, exploring the cultural, therapeutic and psychiatric legacies of R.D. Laing’s and Aaron Esterson’s classic 1964 study of “schizophrenia” and its relation to scapegoating in family life.

You can read that special issue here.

Post-Traumatic Attachments to the Eerily Moving Image also offers a retrospective and analytical context for a piece of fantastical fiction I wrote over a decade ago, about homelessness, orphanhood, and Britain’s obsession with immigration-control, entitled Mameluke Bath (Open Books, 2013). That novel explored, among other things, the anti-heroine’s journey through psychotherapy and other adventures towards an unforeseen metamorphosis of sorts.