Across 10 exciting stories, Robin and his grandad explore car boot sales, bring toys to life and learn some important lessons.

“Why do we eat fish fingers, but never fish thumbs?” A collection of silly poems for kids and parents of all ages! A beautifully illustrated book, featuring silly rhymes and improbable subjects. A great recipe for a bed time read that will be read over and over again. Bertie’s Bonkers Book is a fun collection of silly poems that will amuse children and parents alike at bedtime. The book is full of detailed illustrations to enrich the reading experience which will keep children engaged throughout. Drawing on the author’s years of bedtime reading to his own children and his sense of the ridiculous, these poems will entertain and amuse. The poems can be read over and over again, and are suitable for children aged five and over. “A young bee was sitting on a flower one day when a bright coloured wasp flew her way. “Oh, he’s so handsome” was all she could say and she couldn’t stop talking about him all day...”

Twelve-year-old Bertie Blount is great at causing trouble. When she's forced to leave behind her dad and friends in North Carolina so her mom can marry the most boring optometrist in the world, Bertie has a chance at a fresh start. But when Bertie arrives in Pennsylvania, she doesn't just bring trouble; she brings disaster. In a moment of anger, Bertie unwittingly triggers an accident that puts her future stepbrother in a coma. Broken and desperate to make things right, Bertie prays for a miracle. Instead, the universe gives her a pair of supernatural sunglasses, a wise-cracking doppelganger, and a terrifying ghost that sends Bertie on a dangerous mission to find the one thing that just might save her stepbrother's life.

The Author Roma Waldron was born in 1941 Newcastle NSW. The daughter of John Cameron and Pavline nee Clark I am a genealogist and have written 3 volumes of The Pioneers of NSW containing details of 3500 families I am a very keen writer of poetry about broken hearts but my greatest love is writing about a cockroach named Willy and his adventures and short stories for children.

Cinema and Secularism is the first collection to make the relationship between cinema and secularism thematic, utilizing a number of different methodological approaches to examine their identification and differentiation across film theory, film aesthetics, film history, and throughout global cinema. The emergence of moving images and the history of cinema historically coincide with the emergence of secularism as a concept and discourse. More than historically coinciding, however, cinema and secularism would seem to have-and many contemporary theorists and critics seem to assume-a more intrinsic, almost ontological connection to each other. While early film theorists and critics explicitly addressed questions about secularism, religion, and cinema, once the study of film was professionalized and secularized in the Western academy in both film studies and religious studies, explicit and critical attention to the relationship between cinema and secularism rapidly declined. Indeed, if one canvases film scholarship today, one will find barely any works dedicated to thinking critically about the relationship between cinema and secularism. Extending the recent “secular turn” in the humanities and social sciences, Cinema and Secularism provokes critical reflection on its titular concepts. Making contributions to theory, philosophy, criticism, and history, the chapters in this pioneering volume collectively interrogate the assumption that cinema is secular, how secularism is conceived and related to cinema differently in different film cultures, and whether the world is disenchanted or enchanted in cinema. Coming from intellectually diverse backgrounds in film studies, religious studies, and philosophy, the interdisciplinary contributors to this book cover films and traditions of thought from America, Europe, Africa, the Middle East, South Asia, and East Asia. In these ways, Cinema and Secularism opens new areas of inquiry in the study of film and contributes to the ongoing interrogation of secularism more broadly.