Seagulls In The Attic

This book finds Tessa a fully-fledged member of the community. However, that doesn't mean life has become any easier. Her initial delight now has to be tempered with the reality of financial downsizing and learning a whole new way of living. Her natural exuberance and sense of fun help her to turn all the hardships to her advantage, eventually.

Tessa is now a pillar of the community, or so she thinks. Life is becoming hard for her and her family as they realise that being part of a small community is not quite the idyll she had been lead to believe, as lack of money and the demands of family life take their toll. But, as with the first book Up With the Larks, Tessa finds the fun and resilience to turn all the hardships to her advantage - eventually.

There are numerous scholarly works on Alfred Hitchcock's Psycho (1960). Some of these works have explored its Gothic potentials. However, no detailed effort has yet been made to explore one of its major motifs – taxidermy. Taxidermy as an art of corporeal preservation has effectively been used in mainstream body horror films years after Psycho was released. Yet Psycho was one of the first films to explore its potentials in the Gothic genre at a time when it was relegated to a low form of art. Alfred Hitchcock's Psycho and Taxidermy focuses on taxidermy as a cultural practice in both Victorian and modern times and how it has been employed both metaphorically and literally in Hitchcock's films, especially Psycho. It also situates Psycho as a crucial film in the filmic continuum of body horrors where death and docility share a troubled relationship.

The Oxford Handbook of Screendance Studies offers a full overview of the histories, practices, and critical and theoretical foundations of the rapidly changing landscape of screendance. Drawing on their practices, technologies, theories, and philosophies, scholars from the fields of dance, performance, visual art, cinema and media arts articulate the practice of screendance as an interdisciplinary, hybrid form that has yet to be correctly sited as an academic field worthy of critical investigation. Each chapter discusses and reframe current issues, as a means of promoting and enriching dialogue within the wider community of dance and the moving image. Topics addressed embrace politics of the body; agency, race, and gender in screendance; the relationship of choreography to image; constructs of space and time; representation and effacement; production and curatorial practice; and other areas of intersecting disciplines. The Oxford Handbook of Screendance Studies features newly-commissioned and original scholarship that will be essential reading for all those interested in the intersection of dance and the moving image, including film and video-makers, dance artists, screendance artists, academics and writers, producers, composers, as well as the wider interested public. It will become an invaluable resource for researchers and professionals in the field.

____________________________ What's it really like to give it all up and follow your dream? The follow-up to Up With the Larks, and the second volume in the heartwarming, laugh-out-loud true story of Tessa, who moved from the London rat-race to become a postie in rural Cornwall. Tessa and her husband are delighted when a new young couple arrive in the village fresh from the city - just as they once did. However what looks such a promising new friendship turns to a nightmare, as these are people who think money can buy them acceptance - and the village is soon in quiet revolt. Tessa finds herself in the thick of it - and realises that she has grown very strong roots in the community in the two years she has been in Cornwall. Like so many in the country, she has to think about turning her house into a source of income in the summer months. Having finally got the place up to scratch, she and her family are wondering whether to camp for a couple of months when they are asked to take over a B&B owned by friends of friends. Tessa is bubbly, outgoing - but quite inexperienced at being a landlady. She muddles through only with the generous help of the 'customers' on her postal round. ____________________________ Written with her usual warmth and good humour, Tessa Hainsworth enchants us again with her stories of life as a newcomer to 'deep' Cornwall and makes us dwell on the true value and meaning of 'home'.

Childrens book with family going to the beach and having to deal with pesky seagulls while they are eating their lunch

Getting Out - Excerpts from a Cat's Diary is the first book in a trilogy of at least four books (according to the author). Translated from the original Cat by John Woodcock. It is a humorous 'diary' where 'Bridget Jones' meets 'The Great Escape' head on. The escapee is a domestic cat who believes that he is a great diarist and describes, in his own words, his almost daily escape attempts. Over 400, yes four hundred pages of laughter!

Smeagull the Seagull comes to the house near the shore every day and knocks on the sliding glass door. He knocks when he¿s hungry, and the people who live there feed him. Smeagull rules the roost! Keeping him fed is an exhausting job, but when Smeagull disappears, it makes clear what an important family member Smeagull has become. There are few places on earth without seagulls, both on shore and inland, and every child will find Smeagull captivating and yet familiar. Smeagull the Seagull teaches young children that animals are precious and have needs and feelings and family, just like us.This is a true story. Smeagull is a wild herring gull who does indeed knock at Valerie and Mark¿s house every day where he is fed scraps from sustainable seafood.The book is illustrated in full color by the graphic designer, Valerie Elaine Pettis. The text is written in rhyme by Mark Seth Lender, a published author and producer for wildlife content at Living on Earth, which is nationally broadcast on Public Radio.

Anne and Don, married ten years, are on vacation in Florida. Anne inanely chatters on about beaches, seagulls and garbage dumps. Don, fed up, walks away, leaving Anne sitting on the beach alone. Don has gone to visit his friend Jim, a man of little insight but great obsession about golf, to tell him that he has left Anne. Jim, in turn, has just returned from a golfing vacation to discover that his wife, Sandy, has apparently left him. George, a seagull who lives contentedly with his wife, Ethel, on the Staten Island landfill, has just arrived on the Florida beach and meets Fred, a seagull without ties but with a dark past. The play follows these four humans and Fred as they attempt to define themselves, their lives, relationships and values. George, the Staten Island Seagull, however, is content being who he is.--From publisher description.

'Alice Allen spent her formative years in Jersey, and her poems are imbued with its landscape, language and people. The particular focus of Daylight of Seagulls is the occupation of the island during WWII and the bravery of its citizens in the face of invasion. But Allen's poems offer more than a history retold - they are compassionate, lyrical, inventive, often taking on voices of ordinary men and women who've remained unheard. She unearths the island's secrets and sets them in front of us - treasures from a bygone world. This is a beautiful debut from a poet who understands how to evoke the potency of place.' Tamar Yoseloff 'Like the granite of the islands, this collection glitters with facets, sharp-edged glints of many lives. Good writing of place is also about time; addressing a difficult history, these poems show how the past, especially the unspoken, lives in the present tense.' Philip Gross