Two inches thick and built like an oversized zine, this is Waplington's own raid on forty years of his contact sheets, from the first pictures he made at fourteen to work finished in 2020. Nothing here had been printed before. The sequence is not chronological and not sorted by project: protest marches, gigs and backstage rooms, friends, strangers in the street, three continents and four decades shuffled together so that a picture from the Miners' Strike can sit beside one made last year. Waplington has said the arc is bookended by the rise and fall of neoliberalism, but the book resists that reading as much as it invites it, holding instead to the one constant in his practice, which is people.