English Animals

'A beautiful and bold debut' M.J. Hyland, author of the Man Booker-shortlisted Carry Me Down It's a long time since I've enjoyed any debut novel as much as English Animals. Its command of tone, narrative and character is so assured, and both its wit and perceptiveness about a certain kind of English life make it a joy to read' Amanda Craig English Animals is a brilliantly assured debut that fans of Nina Stibbe's writing will love. I opened my mouth to say something but she ran up the steps and into the house. I had imagined arriving at the house so many times, but it was never like this. I realised I knew nothing about these people. Richard and Sophie sounded like good names for good people. But they could be anything, they could be completely crazy. When Mirka gets a job in a country house in rural England, she has no idea of the struggle she faces to make sense of a very English couple, and a way of life that is entirely alien to her. Richard and Sophie are chaotic, drunken, frequently outrageous but also warm, generous and kind to Mirka, despite their argumentative and turbulent marriage. Mirka is swiftly commandeered by Richard for his latest money-making enterprise, taxidermy, and soon surpasses him in skill. After a traumatic break two years ago with her family in Slovakia, Mirka finds to her surprise that she is happy at Fairmont Hall. But when she tells Sophie that she is gay, everything she values is put in danger and she must learn the hard way what she really believes in. English Animals is a funny, subversive, poignant and beautifully written novel about a doomed love affair, a certain kind of Englishness and prejudice.

These four little books with their rounded edges are perfect for introducing younger children to the world of animals. Anna Lang is an illustrator who is both delicate and funny and whose characterisations of the various animals are ironic and captivating. Turning the pages of these books, children will learn about the biggest and smallest animals, what they like to eat, what noises they make when they want to be heard and where they like to hide when they want to get away from danger or simply to relax. Children can page through the books on their own or with the help of their parents or older children to learn new words. AGES: 0 to 3 AUTHOR: Anna Lang, a Hungarian graphic designer and illustrator, currently lives and works in Milan.

Illustrations and clear text help children discover two languages through the concept of their favorite animals.

Pictures, on board pages, of baby animals.

An entertaining and illuminating collection of weird, wonderful, and downright baffling words from the origins of English—and what they reveal about the lives of the earliest English speakers Old English is the language you think you know until you actually hear or see it. Unlike Shakespearean English or even Chaucer’s Middle English, Old English—the language of Beowulf—defies comprehension by untrained modern readers. Used throughout much of Britain more than a thousand years ago, it is rich with words that haven’t changed (like word), others that are unrecognizable (such as neorxnawang, or paradise), and some that are mystifying even in translation (gafol-fisc, or tax-fish). In this delightful book, Hana Videen gathers a glorious trove of these gems and uses them to illuminate the lives of the earliest English speakers. We discover a world where choking on a bit of bread might prove your guilt, where fiend-ship was as likely as friendship, and where you might grow up to be a laughter-smith. The Wordhord takes readers on a journey through Old English words and customs related to practical daily activities (eating, drinking, learning, working); relationships and entertainment; health and the body, mind, and soul; the natural world (animals, plants, and weather); locations and travel (the source of some of the most evocative words in Old English); mortality, religion, and fate; and the imagination and storytelling. Each chapter ends with its own “wordhord”—a list of its Old English terms, with definitions and pronunciations. Entertaining and enlightening, The Wordhord reveals the magical roots of the language you’re reading right now: you’ll never look at—or speak—English in the same way again.

The boundaries between human and beast forged a rugged philosophical landscape across early modern England. Spectators gathered in London's Bear Garden to watch the callous and brutal baiting of animals. A wave of "new" scientists performed vivisections on live animals to learn more about the human body. In Perceiving Animals, the British scholar Erica Fudge traces the dangers and problems of anthropocentrism in texts written from 1558 to 1649. Meticulous examinations of scientific, legal, political, literary, and religious writings offer unique and fascinating depictions of human perceptions about the natural world. Views carried over from bestiaries--medieval treatises on animals-- posited animals as nonsentient beings whose merits were measured solely by what provisions they afforded humans: food, medicine, clothing, travel, labor, scientific knowledge. Without consciences or faith, animals were deemed far inferior to humans. While writings from the period asserted an enormous biological superiority, Fudge contends actual human behavior and logic worked, sometimes accidentally, to close the alleged gap. In the Bear Garden, even a man of the lowest social rank had power over a tortured animal, sinking him, though, below the beasts. The beast fable itself fails to show a true understanding of animals, as it merely attributes human characteristics to beasts in an attempt to teach humanist ideals. Scholars and writers continually turned to the animal world for reflection. Despite this, scientists of the period used animals for empirical and medical knowledge, recognizing biological and spiritual similarities but refusing to renege human superiority. Including an insightful reexamination of Ben Jonson's Volpone and fascinating looks at works by Francis Bacon, Edward Coke, and Richard Overton, among others, Fudge probes issues of animal ownership and biological and spiritual superiority in early modern England that resonate with philosophical quandaries still relevant in contemporary society.

Ireland, 1971, John Egan is a misfit, 'a twelve year old in the body of a grown man with the voice of a giant who insists on the ridiculous truth'. With an obsession for the Guinness Book of Records and faith in his ability to detect when adults are lying, John remains hopeful despite the unfortunate cards life deals him. During one year in John's life, from his voice breaking, through the breaking-up of his home life, to the near collapse of his sanity, we witness the gradual unsticking of John's mind, and the trouble that creates for him and his family.

Synopsis coming soon.......

The Rise of Animals and the Descent of Man illuminates compelling historical connections between a current fascination with animal life and the promotion of the moral status of non-human animals as ethical subjects deserving our attention and respect, and a deep interest in the animal as agent in eighteenth-century literate culture. It explores how writers, including well-known poets, important authors who mixed art and science, and largely forgotten writers of sermons and children’s stories all offered innovative alternatives to conventional narratives about the meaning of animals in early modern Europe. They question Descartes’ claim that animals are essentially soulless machines incapable of thought or feelings. British writers from 1660-1800 remain informed by Cartesianism, but often counter it by recognizing that feelings are as important as reason when it comes to defining animal life and its relation to human life. This British line of thought deviates from Descartes by focusing on fine feeling as a register of moral life empowered by sensibility and sympathy, but this very stance is complicated by cultural fears that too much kindness to animals can entail too much kinship with them—fears made famous in the later reaction to Darwinian evolution. The Riseof Animals uncovers ideological tensions between sympathy for animals and a need to defend the special status of humans from the rapidly developing Darwinian perspective. The writers it examines engage in complex negotiations with sensibility and a wide range of philosophical and theological traditions. Their work anticipates posthumanist thought and the challenges it poses to traditional humanist values within the humanities and beyond. The Rise of Animals is a sophisticated intellectual history of the origins of our changing attitudes about animals that at the same time illuminates major currents of eighteenth-century British literary culture.

This new series of small square books with rounded edges are aimed at our youngest readers (0-3 years old) introducing them to the English language. The animal kingdom is used to introduce the first English words and their translation with cute, entertaining illustrations drawn with joy by Anna Lang, so that children gradually get to know the irresistible inhabitants of the farm, woodland and oceans as well as some of the most popular wild animals. AGES: 0 to 3 AUTHOR: Anna Lang, a Hungarian graphic designer and illustrator, currently lives and works in Milan.