Makerspaces-public workshops where makers can share tools and knowledge-are a growing resource for amateurs and professionals alike. While the role of makerspaces in innovation and peer learning is widely discussed, we attempt to look at the wider roles that makerspaces play in public life. Through site visits and interviews at makerspaces and similar facilities across the UK, we have identified additional roles that these spaces play: as social spaces, in supporting wellbeing, by serving the needs of the communities they are located in and by reaching out to excluded groups. Based on these findings, we suggest implications and future directions for both makerspace organisers and community researchers.

This ground-breaking research defines a new approach for engaging low income and disenfranchised communities in the creative economy. The authors propose that demystifying creativity and reframing it as an adaptive productive process can lead to a flourishing of aspiration and potential among target communities. Through research in a low income community and among disabled people in Northern England, the authors found that focusing on rubrics of exploration, play and 'purposeful meandering' tackled anxieties around creative production and a lack of confidence and self-belief. This emphasis on all people as cultural producers however needs to connect with clearer pathways into the creative industries.

Frieder Nake describes the process of digital fabrication as "the embodiment of pure thought" (80). An idea, expressed virtually within a computer drawing program, can be made concrete through the use of machines including lasercutters, routers, and three-dimensional (3-D) printers. The concept becomes particularly intriguing when it is considered in terms of what Timothy Barrett describes as "'auto/biographical' potentiality" (1576). The ability to materialize hitherto intangible aspects of selfhood opens new possibilities for autojbiographical inscription and interpretation. These opportunities are pertinent for disabled people, who might engage digital fabrication practices as conscious affirmations of agency, challenging hegemonic cultural narratives of lack and deficiency. To support these claims, I draw on the findings from a UK Arts and Humanities Research Council project, "In the Making: A Co-Constructed Mapping and Feasibility Study of Digital Fabrication Labs and Their Potential to Catalyze Cultural Change" (Hurley, Connolly, and Taylor). Many pieces of hardware can be employed in digital fabrication. Our project chose to work with 3-D printers because they "make it remarkably clear how an idea (or at least the virtual, digitally designed representation of an idea) can become a material object" (Walter-Herrmann and B€ uching 11). The printer's software "slices" a digital design into tiny topographical layers, which the machine then materializes physically by depositing these layers incrementally via a nozzle that usually extrudes hot PLA (plastic) filament, although more sophisticated printers can work with other materials. Entrylevel 3-D printers are readily available to the home user, and early adopters already share a wealth of designs via open-source websites such as Thingiverse. Our funding allowed us to secure the equipment to produce simple 3-D prints and to enlist expert facilitation. 1 We took the mobile lab "on tour" around Greater Manchester, a large conurbation in the northwest of the UK that contains many postindustrial areas with their attendant issues of economic and social disconnection. The two-day courses were widely advertised,

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Drawing on her experiences as a writer and teacher of short fiction, the author offers an interrogation of the defining qualities of short stories, with a particular focus on how the ending of a narrative can be one of the most useful ways of teasing out generic differences between short fiction and other prose forms. A survey of critical and writerly opinion leads into a practical demonstration of how endings work, with detailed reference to James Joyce's Dubliners. The essay concludes by suggesting ways in which Dubliners prefigures the composite novels and story cycles that are prominent features of contemporary practice.