Here we go; here's another set of half-witted adventures and reminiscences from that most furry of all heroines, Tabitha Miggins. In this (eminently bushy) tail, she manages to change the course of history thanks to a slight faux pas. It gets better, though, thanks to Tabitha going to have a chinwag with her future self, so as to find out how she saved the world from the radical, new history that she'd caused. As it turns out, saving the world involves passing Warp speed and knitting at Weft speed, even though this means Tabitha knitting herself out of history altogether. Some days a cat just has to do what a cat has to do; that's what duty's all about. If all this wasn't enough, Tabitha meets up again with the dastardly Smuckle and we find out how he managed to survive throwing himself in the sea whilst bound in heavy, iron chains back in the last book. We also get to find out how the decorating in his hideout on Lundy went.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

This book is Albert Spaldings work of "historic facts concerning the beginning, evolution, development and popularity of base ball, with personal reminiscences of its vicissitudes, its victories and its votaries." It is one of the defining books in the early formative years of modern baseball.

What could an omnipresent and seemingly omnipotent entity want with a humble pot-healer? Or with the dozens of other odd creatures it has lured to Plowman's Planet? And if the Glimmung is a god, are its ends positive or malign? Combining quixotic adventure, spine-chilling horror, and deliriously paranoid theology, Galactic Pot-Healer is a uniquely Dickian voyage to alternate worlds of the imagination.