TABLE OF CONTENTS -- ACKNOWLEDGEMENTS -- ABOUT THE CONTRIBUTORS -- PROLOGUE: How and Why This Book Was Written -- AN UNAPOLOGETICALLY MESSY TEXT FOR A MULTI-STORIED AND MESSY OLD WORLD -- PRODUCING THIS BOOK -- REFERENCES -- 1. INTRODUCTION TO 'CREATIVE PRACTITIONER INQUIRY IN THE HELPING PROFESSIONS' -- BLOG ENTRY, SEPTEMBER 25, 2924 -- Sue to Jane, 31/3/13 -- Jane to Sue 4/4/13 -- Sue writes to Jane 21.4.13: -- BLOG ENTRY, SEPTEMBER 26TH, 2924. -- REFERENCES -- PART ONE: VISUAL INQUIRY -- 2. INTRODUCTION TO VISUAL INQUIRY: Between the Visual and the Textual -- TRANSFORMING INQUIRIES: TRANSFORMING OURSELVES THROUGH MAKING ART -- PHOTOGRAPHY, MEMORY, NARRATIVE AND IDENTITY -- CRITICAL METHODOLOGICAL QUESTIONS -- REFERENCES -- 3. SEEING LEARNING DISABILITY: A Re/claimed Book -- RE/CLAIMING A BOOK -- NOTES -- REFERENCES -- 4. FROM A DIFFERENT PERSPECTIVE: Interrogating Nursing Through Art -- SCRATCHING SURFACES: INQUIRING AND EXPERIENCING THROUGH ART-MAKING PROCESSES -- Helen's comment on her piece -- DEVELOPING THE ART OF INTERPRETATION -- UNEARTHING THE OBSCURED -- INTERROGATING SELF AND PURPOSE -- Lisa's comment -- CHALLENGES EXPERIENCED IN USING ART-BASED APPROACHES -- CONCLUSION -- REFERENCES -- 5. SAILING AND THE DAD CONNECTION -- 6. DZO DANCING -- PROLOGUE -- WEALTH/POVERTY? -- POSTSCRIPT -- REFERENCES -- PART TWO: WRITTEN INQUIRY -- 7. INTRODUCTION TO WRITTEN INQUIRY -- WRITING AS INQUIRY -- WRITING SOCIAL RESEARCH DIFFERENTLY -- CRITICAL RESEARCH QUESTIONS RAISED BY CHAPTERS 8-13 OF THIS BOOK -- REFERENCES -- 8. A LIFE OF MY STORY -- REFERENCES -- 9. BATTERED FISH OUT OF WATER: A Work in Progress -- PROLOGUE. SANDWICH MAKING WITH ANGER -- BROWN BREAD (BOTTOM SLICE) -- THE FILLING (IN THIRTEEN SCENES) -- Scene 1. The Pink Bedroom -- Scene 2. The Beach Below Our House -- Scene 3. Busy Pedestrianised Street in a Provincial Town.

Scene 4. The deck of a P&O ferry -- Scene 5. The Head Teacher's Office -- Scene 6. The un/shoreline -- Scene 7. Office Environment-Brightness 95% -- Scene 8. Night-High Angle View of Father and Mother Asleep -- Scene 9. Close-up LCD Screen6 -- Scene 10. The Pink Bedroom7 -- Scene 11. Battered Fish out of Water -- Scene 12. The Pink Bedroom and the Father's Office -- BROWN BREAD (TOP SLICE-TO COVER AND CONTAIN) -- EPILOGUE -- NOTES -- REFERENCES -- 10. COCKA ROGIE'S SONG: Outsiders Within -- THE POSITION: INSIDE/OUTSIDE -- APPROACHING THE STUDY -- THE JOURNEY BEGINS -- INSIDER/OUTSIDER POSITIONS: ENVIABLE/DANGEROUS? -- RE-POSITIONING -- NOTES -- REFERENCES -- 11. SISTERS, SECRETS AND SILENCE -- FRAGMENT (1) -- FRAGMENT (2) -- FRAGMENT (3) -- REFERENCES -- 12. NEW SCRIPTS FOR OLD WOMEN -- NEW SCRIPTS FOR OLD WOMEN: ACT 1-THE RESEARCH TEAM GETS TOGETHER -- Act Two: The Study Team Meet -- REFERENCES -- 13. VISIBLE WOMEN -- WHAT IS POETIC INQUIRY? -- FIRST LETTER FROM LYNN -- IN SEARCH OF THE INVISIBLE WOMAN -- FIRST LETTER FROM PAT -- FIRST LETTER FROM JANE -- FINDING MY COLLABORATORS -- FIRST LETTER FROM ALISON -- FIRST LETTER FROM SARA -- NOT BEING OBJECTIVE -- FIRST LETTER FROM CINDY -- THE LIVING, BREATHING, SPEAKING BEING -- FIRST LETTER FROM MARIE -- REFERENCES -- 14. WRITING BACK TO LIFE -- COMING … -- LABEL (I) -- LABEL (II) -- LABELS (III) -- AUTUMN DRIVE -- THE TUTOR -- WHEEL WAGON -- LOVE /ANCHOR -- SPARK -- GRIEF -- SITUATE A SELF -- UNTITLED -- SEPARATED FROM SELF -- UNTITLED -- CONFUSION -- I WANT NEVER GETS? -- UNTITLED -- L/ONLY WARD VISITING? -- THE BODY PARLOUR -- BELONGING TO THE DECEASED -- BOUNCING TO DEATH -- FRUITS OF WINTER -- THE SHOE BOX / FAMILY RECORDS -- UNTITLED -- AGENCIES OF BENEFIT / LETTER TO THE BENEFIT AGENCY -- FILLED WITH GAPS -- UNTITLED -- SURE SHOCK -- UNTITLED -- A WONDERFUL LIFE -- MYSELF -- DRESSED.

HER EYES OPENED WIDE -- NO SEX WORK ON THE STREETS… -- SPECIAL TREASURE -- RELATIVELY CLOSE HATRED -- UNTITLED -- SILENCE -- GORGEOUS GIRLS -- LIGHT -- RETURNING TO GOD -- LILLY HALL LANE -- UNTITLED -- A KEY… -- UNMASKING -- IN MEMORY OF SAM -- SUDDENLY AND UNEXPECTED -- SITTING WITH THE HUM OF A DISHWASHER -- LOCKED IN DISTRESS -- UNTITLED -- IN THE BROWN OF HER SKIN -- STAFF -- LAYERS OF LEARNING -- GREY -- UNTITLED -- GRASPING -- ALWAYS -- TURNING WITH AND AGAINST -- GENERAL CONCRETE CONVENTIONS IN WESTERN POETRY… -- NOTES -- PART THREE: COLLABORATIVE INQUIRY -- 15. INTRODUCING COLLABORATIVE WAYS OF WORKING -- CONVERSATION AS RESEARCH -- COLLABORATIVE AND COLLECTIVE INQUIRY -- SILENCE, VOICE AND POWER RELATIONS -- CRITICAL RESEARCH QUESTIONS THAT EMERGE FROM THESE CHAPTERS: -- REFERENCES -- 16. CONVERSATION WITH SYLVIA IN COLOUR -- LONDON, OCTOBER 1962 -- ST IVES, CORNWALL MAY, 2007 -- POSTSCRIPT -- NOTES -- REFERENCES -- 17. TWO MEN TALKING: Performing Selves in Emergent Relational Space -- REFERENCES -- 18. BARE ARSED STORIES -- INTRODUCTION -- TAKING OUR CLOTHES OFF AS A METAPHOR -- BARE-ARSED STORIES -- THE INTER RELATIONSHIP IN/THROUGH THE WRITING- WRITING THAT 'CALLS' -- AN EXTENDED GRAMMAR OF SHARING -- NOTES -- REFERENCES -- 19. ENCOUNTERING 'GERALD': Experiments with Meandering Methodologies and Experiences Beyond Our 'Selves' in a Collaborative Writing Group -- BACKGROUND STORIES -- STORIES ABOUT OUR WRITING -- ENCOUNTERING GERALD -- NOTES -- REFERENCES -- 20. EPILOGUE: April 2014 -- REFERENCES.