In his previous book, City Gorged with Dreams (2002), Ian Walker challenged established ideas about surrealist photography by emphasizing the key role played by documentary photographs in Parisian Surrealism. Now, Walker turns his attention to the arrival of Surrealism in England in 1936. Examining for the first time the surprising relationship between surrealism and English documentary photography and film, the book shows that some of the most interesting work of the period was made in the ambiguous spaces between them.