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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.

Thomas Dworzak (Magnum) was embedded with a US medical corps in Iraq in 2005. His images of soldiers at work and play, from mess rooms to operating rooms and out in the field, are juxtaposed with stills from the 70s TV series M*A*S*H. Together they reveal the parallels of life at war, unchanged over the decades, the mad mixed with the small moments of sanity, that evolve from living in conflict, from Korea to Iraq.>First seen in the early 1970s at the height of anti-Vietnam feeling in America, the original series M*A*S*H followed a hapless US medical corps stationed out in the preceding Korean war. Here underlay a dark commentary throughout its comedy. As the US Military continue to fight onwards in Iraq, doctors, nurses and medics are working on the front lines to keep their casualties down. Magnum Photographer Thomas Dworzak was with them, embedded with the 44th Medcoms 50th and 1150th Medical Companies in Iraq over several periods in 2005. Taking the lead from the satirical commentary first provided by the film and subsequent series of M*A*S*H, this book juxtaposes images from the series with Dworzak's own from his time with the medical companies he was stationed with out in Iraq.From mess tents to surgical tables, the story of everyday life behind the scenes of these medical corps shows at times a pathos and comradeship alongside the expected blood and suffering. The accompanying stills and subtitled images from M*A*S*H bring Dworzak's photographs out of the realm of the purely photojournalistic, and instead poignantly provide a black humour for a disenchanted audience of the modern world, and a comment on the concept of photographers today working embedded and alongside the military.

Alixandra Fazzina followed the desperate exodus of Somalis fleeingviolence in their country, plagued by a ferocious civil war now in itsseventeenth year. In a country with the longest coast line in Africa andhemmed in by conflict, one of the only means of escape is by sea.? Capturing their voyage from both sides of the water, she hasfollowed the established smuggling routes from southern Somalia tothe migrants? subsequent fate as they arrive in Yemen and continuetheir onward journey in search of a better life.? Life in this volatile region is so cheap that people are willing to riskeverything for just $50- or one million Somali Shillings.? Risking rape, robbery, murder or drowning at the hands of themilitia and people traffickers, the refugees have just a one in twentychance of arriving on the shores of Yemen alive.? Despite the risks, tens of thousands of Somalis take their chances,rather than stare death in the face at home.Alixandra first studied Fine Art at Bristol University, then became awar artist with the Ministry of Defence. As a freelance photographershe has been working for the past seven years in Africa and theMiddle East, working closely with the UNHCR. She won the 2008 VicOdden award from the Royal Photographic Society, and was a finalistat the 2008 CARE award for humanitarian photography.