Readers rejoice—Primrose Squarp is back! The wise and curious heroine of the Newbery Honor Book Everything on a Waffle is facing another adventure-filled year in Coal Harbor. Even though her parents, once lost at sea, are home, there’s a whole slew of problems and mysteries to keep Primrose—and eager fans—busy. There’s Uncle Jack and Kate Bowzer, who may (or may not) be in love. There’s Ked, a foster child who becomes Primrose’s friend. And there’s the new development on the outskirts of town that threatens the Coal Harbor Primrose knows and treasures. From National Book Award–winning author Polly Horvath comes a masterful sequel to a beloved novel, sure to please old fans and gain new ones. A perfect charmer…. Hilarious and touching.” —The Boston Globe “Nobody does middle grade like Horvath.” —The Horn Book Magazine

For over five decades, the Newcastle-based Amber Film and Photography Collective has been a critical (if often unheralded) force within British documentary filmmaking, producing a variety of innovative works focused on working-class society. Situating their acclaimed output within wider social, political, and historical contexts, In Fading Light provides an accessible introduction to Amber’s output from both national and transnational perspectives, including experimental, low-budget documentaries in the 1970s; more prominent feature films in the 1980s; studies of post-industrial life in the 1990s; and the distinctive perils and opportunities posed by the digital era.

The story of the miners of Zonguldak presents a particularly graphic local lens through which to examine questions that have been of major concern to historians—most prominently, the development of the state, the emergence of capitalism, and the role of the working classes in these large processes. This book examines such major issues through the actual experiences of coal miners in the Ottoman Empire. The encounters of mine workers with state mining officials and private mine operators do not follow the expected patterns of labor-state-capital relations as predicted by the major explanatory paradigms of modernization or dependency. Indeed, as the author clearly shows, few of the outcomes are as predicted. The fate of these miners has much to offer both Ottoman and Middle East specialists as well as scholars of the developing world and, more generally, those interested in the connections between economic development and social and political change.

Based on rare archival material and numerous interviews with practitioners, Art in the North of England 1979-2008 analyses the relation between political and economic changes stemming from the 1980s and artistic developments in the principal cities of the North of England in the late 20th century. Looking in particular at the art scenes of Liverpool, Manchester, Leeds, Sheffield and Newcastle, Gabriel Gee unveils a set of powerful aesthetic reactions to industrial change and urban reconstruction during this period on the part of artists including John Davies, Pete Clarke, the Amber collective, Richard Wilson, Karen Watson, Nick Crowe & Ian Rawlinson, John Kippin, and the contribution of organisations such as Projects UK/Locus +, East Street Arts, the Henry Moore Sculpture Trust and the Bluecoat Gallery in Liverpool. While the geographical focus of this study is highly specific, a key concern throughout is the relationship between regional, national and international artistic practices and identities. Of interest to all scholars and students concerned with the developments of British art in the second half of the 20th century, the study is also of direct pertinence to observers of global narratives, which are here described and analysed through the concept of trans-industriality.