Tessa Hainsworth used to have it all - except time, peace of mind and leisure to enjoy the fruits of her labours in her executive job with The Body Shop. One momentous spring, she and her husband decided to start again - and UP WITH THE LARKS describes Tessa's first turbulent year, adapting to her new life in the remote South West. Now, in SEAGULLS IN THE ATTIC, Tessa reveals that despite being a fully-fledged member of the community, life is no easier. Being part of small-village life isn't always straightforward. Yet the reality of financial downsizing and learning a whole new way of living hasn't lessened Tessa's natural exuberance and sense of fun - instead they help her to turn all the hardships to her advantage...eventually.

There are numerous scholarly works on Alfred Hitchcock's Psycho (1960). Some of these works have explored its Gothic potentials. However, no detailed effort has yet been made to explore one of its major motifs – taxidermy. Taxidermy as an art of corporeal preservation has effectively been used in mainstream body horror films years after Psycho was released. Yet Psycho was one of the first films to explore its potentials in the Gothic genre at a time when it was relegated to a low form of art. Alfred Hitchcock's Psycho and Taxidermy focuses on taxidermy as a cultural practice in both Victorian and modern times and how it has been employed both metaphorically and literally in Hitchcock's films, especially Psycho. It also situates Psycho as a crucial film in the filmic continuum of body horrors where death and docility share a troubled relationship.

The Oxford Handbook of Screendance Studies offers a full overview of the histories, practices, and critical and theoretical foundations of the rapidly changing landscape of screendance. Drawing on their practices, technologies, theories, and philosophies, scholars from the fields of dance, performance, visual art, cinema and media arts articulate the practice of screendance as an interdisciplinary, hybrid form that has yet to be correctly sited as an academic field worthy of critical investigation. Each chapter discusses and reframe current issues, as a means of promoting and enriching dialogue within the wider community of dance and the moving image. Topics addressed embrace politics of the body; agency, race, and gender in screendance; the relationship of choreography to image; constructs of space and time; representation and effacement; production and curatorial practice; and other areas of intersecting disciplines. The Oxford Handbook of Screendance Studies features newly-commissioned and original scholarship that will be essential reading for all those interested in the intersection of dance and the moving image, including film and video-makers, dance artists, screendance artists, academics and writers, producers, composers, as well as the wider interested public. It will become an invaluable resource for researchers and professionals in the field.

Getting Out - Excerpts from a Cat's Diary is the first book in a trilogy of at least four books (according to the author). Translated from the original Cat by John Woodcock. It is a humorous 'diary' where 'Bridget Jones' meets 'The Great Escape' head on. The escapee is a domestic cat who believes that he is a great diarist and describes, in his own words, his almost daily escape attempts. Over 400, yes four hundred pages of laughter!

'Alice Allen spent her formative years in Jersey, and her poems are imbued with its landscape, language and people. The particular focus of Daylight of Seagulls is the occupation of the island during WWII and the bravery of its citizens in the face of invasion. But Allen's poems offer more than a history retold - they are compassionate, lyrical, inventive, often taking on voices of ordinary men and women who've remained unheard. She unearths the island's secrets and sets them in front of us - treasures from a bygone world. This is a beautiful debut from a poet who understands how to evoke the potency of place.' Tamar Yoseloff 'Like the granite of the islands, this collection glitters with facets, sharp-edged glints of many lives. Good writing of place is also about time; addressing a difficult history, these poems show how the past, especially the unspoken, lives in the present tense.' Philip Gross

Anne and Don, married ten years, are on vacation in Florida. Anne inanely chatters on about beaches, seagulls and garbage dumps. Don, fed up, walks away, leaving Anne sitting on the beach alone. Don has gone to visit his friend Jim, a man of little insight but great obsession about golf, to tell him that he has left Anne. Jim, in turn, has just returned from a golfing vacation to discover that his wife, Sandy, has apparently left him. George, a seagull who lives contentedly with his wife, Ethel, on the Staten Island landfill, has just arrived on the Florida beach and meets Fred, a seagull without ties but with a dark past. The play follows these four humans and Fred as they attempt to define themselves, their lives, relationships and values. George, the Staten Island Seagull, however, is content being who he is.--From publisher description.