They are all going to die. All of the patients at the Complex are terminal, with no hope of reprieve. But they’ve volunteered to come here, to this experimental clinic to allow themselves to be test subjects. Still, they’re all going to die. All except Barney. Barney cannot remember much about his life before the Complex, but he knows that he’s there as a control. To see how the drugs being tested will affect a nonterminal patient. And then they start testing a new drug on him . . . one that will affect his memory. And Barney starts to remember things he doesn’t want to remember.
'Wonderfully intense and honest - a poignant manual of how to grow hope against the odds.' Chris Packham, TV presenter and author of Fingers in the Sparkle Jar Finding herself in a new home in Brighton, Kate Bradbury sets about transforming her decked, barren backyard into a beautiful wildlife garden. She documents the unbuttoning of the earth and the rebirth of the garden, the rewilding of a tiny urban space. On her own she unscrews, saws and hammers the decking away, she clears the builders' rubble and rubbish beneath it, and she digs and enriches the soil, gradually planting it up with plants she knows will attract wildlife. She erects bird boxes and bee hotels, hangs feeders and grows nectar- and pollen-rich plants, and slowly brings life back to the garden. But while she's doing this Kate's neighbours continue to pave and deck their gardens locking them away, the wildlife she tries to save is further threatened, and she feels she's fighting an uphill battle. Is there any point in gardening for wildlife when everyone else is drowning the land in poison and cement? Sadly, events take Kate away from her garden, and she finds herself back home in Birmingham where she grew up, travelling the roads she used to race down on her bike in the eighties, thinking of the gardens and wildlife she loved, witnessing more land lost beneath paving stones. If the dead could return, what would they say about the land we have taken, the ancient routes we have carved up, the wildlife we have lost?
Publisher: Macmillan International Higher Education
Category: Juvenile Nonfiction
This compelling New Casebook is the first essay collection devoted to the work of groundbreaking American author Robert Cormier. Written by a team of international children's literature experts, the volume offers a variety of critical and theoretical approaches to the range of Cormier's controversial young adult novels. The newly-commissioned essays explore the author's earlier best-known writings for teenagers as well as his later less critically examined texts, focussing on key issues such as adolescence, identity, bullying and child corruption. Recognizing Cormier's achievement, this long-overdue critical resource is essential reading for anyone with an interest in his influential work and lasting impact on young adult fiction.
Beginning with the publication of The Chocolate War in 1974, and continuing throughout the entirety of his career, Robert Cormier dared to disturb the universe. The moment Jerry Renault refused to sell his first chocolate bar Robert Cormier began a life-long career that would push the boundaries of traditional young adult literature. He would go on to prove again and again that a YA novel could be both realistic and unflinchingly honest. And that fiction for teens could be great literature. In this book YA librarian and Cormier biographer Patty Campbell explores each of Cormier's books for young readers. From the boundary breaking modern classic The Chocolate War and the award-winning I Am the Cheese, to the tender Frenchtown Summer and the shocking and disturbing Tenderness, Campbell's literary analysis illuminates why Robert Cormier has been called the single most important writer in young adult literature. And how his work has touched generations of young readers' hearts and minds, daring them again and again to disturb their own universe. From the Trade Paperback edition.
From the international successes of Neil Jordan and Jim Sheridan, to the smaller productions of the new generation of Irish filmmakers, this book explores questions of nationalism, gender identities, the representation of the Troubles and of Irish history as well as cinema's response to the so-called Celtic Tiger and its aftermath. Irish National Cinema argues that in order to understand the unique position of filmmaking in Ireland and the inheritance on which contemporary filmmakers draw, definitions of the Irish culture and identity must take into account the so-called Irish diaspora and engage with its cinema. An invaluable resource for students of world cinema.
Buddy Walker is troubled by his parent’s recent divorce, and when Harry Flowers suggests a prank, he goes along, just for opportunity to do something different. He doesn’t realize that someone is watching. When Jane Jerome’s house is trashed, and sister brutally injured in a home invasion, she struggles to continue with her life as her family falls apart. The Avenger has witnessed reckless evil. He has killed before and knows that he just needs to wait until the time is right before he can take his revenge. Robert Cormier once again sheds light on the conflict between good and evil and the dark side of human nature. In his classic style, each character’s point of view is revealed invoking both sympathy and horror while showing the complexities of the psyche.
Francis Joseph Cassavant is 18. He has just returned home from the Second World War, and he has no face. He does have a gun and a mission: to murder his childhood hero. Francis lost most of his face when he fell on a grenade in France. He received the Silver Star for bravery, but was it really an act of heroism? Now, having survived, he is looking for a man he once admired and respected, a man adored my many people, a man who also received a Silver Star for bravery. A man who destroyed Francis’s life.