James Lowen narrates a year-long quest to see Britain's rarest and more remarkable moths. Although mostly unseen by us, moths are everywhere. And their capacity to delight astounds. Inspired by a revelatory encounter with a Poplar Hawk-moth – a huge, velvety-winged wonder wrapped in silver – James Lowen embarks on a year-long quest to celebrate the joy of Britain's rarest and most remarkable moths. By hiking up mountains, wading through marshes and roaming by night amid ancient woodlands, James follows the trails of both Victorian collectors and present-day conservationists. Seeking to understand why they and many ordinary folk love what the general public purports to hate, his investigations reveal a heady world of criminality and controversy, derring-do and determination. From Cornwall to the Cairngorms, James explores British landscapes to coax these much-maligned creatures out from the cover of darkness and into the light. Moths are revealed to be attractive, astonishing and approachable; capable of migratory feats and camouflage mastery, moths have much to tell us on the state of the nation's wild and not-so-wild habitats. As a counterweight to his travels, James and his young daughter track the seasons through a kaleidoscope of moth species living innocently yet covertly in their suburban garden. Without even leaving home, they bond over a shared joy in the uncommon beauty of common creatures, for perhaps the greatest virtue of moths, we learn, is their accessibility. Moths may be everywhere, but above all, they are here. Quite unexpectedly, no animals may be better placed to inspire the environmentalists of the future.

The moms have invited Becca Chadwick and her mother to join the club--and their daughters are devastated. Meanwhile, Jess finds out that her family may lose Half Moon Farm.

Provides a description of the major ideas about void space within and beyond the world that were formulated between the fourteenth and early eighteenth centuries.

The acclaimed Pelican Shakespeare series, now in a dazzling new series design The Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare’s time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With stunning new covers designed by Manuja Waldia, definitive texts, and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come. This edition of Much Ado About Nothing is edited with an introduction by Peter Holland. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Sparkling with the witty dialogue between Beatrice and Benedict, Much Ado About Nothing is one of Shakespeare's most enjoyable and theatrically successful comedies. This edition offers a newly edited text and an exceptionally helpful and critically aware introduction. Paying particular attention to analysis of the play's minor characters, Sheldon P. Zitner discusses Shakespeare's transformation of his source material. He rethinks the attitudes to gender relations that underlie the comedy and determine its view of marriage. Allowing for the play's openness to reinterpretation by successive generations of readers and performers, Zitner provides a socially analytic stage history, advancing new views for the actor as much as for the critic.