The kids of Room 207 arrive at their class on the first day of school to find it has suffered “a most grievous accident” and is covered in mysterious slime. Their teacher leads her charges to the original one-room schoolhouse that stands on the property. But the schoolroom isn’t empty — it is inhabited by a spooky guest. The shock of being transferred to the worst classroom on the planet has barely worn off when Erik, the school’s biggest bully, and Stove, the world’s second fastest pot-bellied pig, are added to the attendance sheet. The winner of this year’s Best Classroom contest will represent the school on a reality show, but what chance does Room 207 have to win when it is already nicknamed, “The Pigpen”? And how do you accept an award if your teacher has been swallowed by slime? Room 207’s cast of hilarious characters includes a guinea pig named Butterbum, a cat who needed ten lives and nine kids desperate to prove themselves to the school and to the reality-tv viewing world.

Secret, strange, dark, impure and dissonant...Enter the haunted landscapes of folk horror, a world of ­pagan ­village conspiracies, witch finders, and teenagers awakening to evil; of dark fairy tales, backwoods cults and obsolete technologies. Beginning with the classics Night of the Demon, Witchfinder General, The Wicker Man and Blood on Satan's Claw, We Don't Go Back surveys the genre of screen folk horror from across the world. Travelling from Watership Down to The Texas Chain Saw Massacre, with every stop inbetween, We Don't Go Back is a thoughtful, funny and essential overview of folk horror in TV and cinema."A beautiful rumination on the dark films and television that shaped me and a generation of odd children, for good or ill, worth a year of your time, because you won't just read the book, you'll feel a burning desire to watch everything mentioned within." - Robin Ince"A comprehensive, accessible and often riotously funny tome weaving together folk horror in all its forms, from British television to the American backwoods, from Eastern European fairytales to the vengeful ghosts of East Asia. Ingham explores uncanny landscapes haunted by things buried, old cultures converging with the reluctance of contemporary reason, that very tension that gives his book its name. He attempts to both define folk horror and free it from definition, creating the ultimate guide to the genre's manifestations on film and offering a convincing argument as to why the genre resonates so compellingly with people today." - Kier-La Janisse, author of House of Psychotic Women

Something’s happening to the girls on Denton Street. It’s the summer of 1980 in Cleveland, Ohio, and Phoebe Shaw and her best friend Jacqueline have just graduated high school, only to confront an ugly, uncertain future. Across the city, abandoned factories populate the skyline; meanwhile at the shore, one strong spark, and the Cuyahoga River might catch fire. But none of that compares to what’s happening in their own west side neighborhood. The girls Phoebe and Jacqueline have grown up with are changing. It starts with footprints of dark water on the sidewalk. Then, one by one, the girls’ bodies wither away, their fingernails turning to broken glass, and their bones exposed like corroded metal beneath their flesh. As rumors spread about the grotesque transformations, soon everyone from nosy tourists to clinic doctors and government men start arriving on Denton Street, eager to catch sight of “the Rust Maidens” in metamorphosis. But even with all the onlookers, nobody can explain what’s happening or why—except perhaps the Rust Maidens themselves. Whispering in secret, they know more than they’re telling, and Phoebe realizes her former friends are quietly preparing for something that will tear their neighborhood apart. Alternating between past and present, Phoebe struggles to unravel the mystery of the Rust Maidens—and her own unwitting role in the transformations—before she loses everything she’s held dear: her home, her best friend, and even perhaps her own body.

Suggests activities to be used at home to accompany the reading of Miss Nelson is missing by Harry Allard in the classroom.

Shortlisted for the Commonwealth Writer’s Prize for Best First Book (Africa) and winner of the Herman Charles Bosman Prize for English Fiction