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Book SynopsisThis second edition of The Art and Science of Dance/Movement Therapy offers a broad understanding of dance/movement therapy as well as an in-depth exploration of how and where it can be used to produce change. The chapters that make up this innovative volume go beyond the basics to offer a unique collection of theoretical perspectives paired with case studies designed to emphasize techniques that can be applied in a variety of settings. In addition to boasting thoroughly expanded versions of all previously published content, this timely reference includes an all new chapter on DMT interventions in palliative care and added references throughout to reflect to the most current knowledge.Trade Review"Aside from the obvious pleasure of having another excellent reference book on dance/movement therapy to add to the growing body of literature, The Art and Science of Dance/Movement Therapy also makes several important contributions to the field. For the psychological community at large, this book is a clear, concise, and thoughtful introduction to the theoretical values and principles of dance/movement therapy. For the developing dance/movement therapist, it is an invaluable teaching tool. And for the seasoned dance/movement therapist, it is simply a pleasure to read." –Julie Miller, American Dance Therapy Association “This exceptional text is a must read for professionals in the mental health, health and education fields, graduate students in DMT, and allied professionals who want a more thorough understanding of DMT. It captures the essence of this unique and powerful treatment modality and offers a rich and diverse cross-cultural perspective.” -Arlynne Stark, MA, MAS, ADTR, LPC, CMA; Past President, American Dance Therapy Association; Former Professor and Director, Dance/Movement Therapy Graduate Program, Goucher College“This is destined to be a classic resource for dance therapists and is accessible to practitioners from other fields and the public. It is a truly remarkable and unique volume that engagingly describes the transformative nature of dance/movement therapy and how it can generate positive behavioral and emotional outcomes that affect individuals and communities.” -Robyn Flaum Cruz, PhD, ADTR, Associate Professor, Lesley University Division of Expressive Therapies, Editor-in-Chief, The Arts in PsychotherapyTable of ContentsPreface. Acknowledgments. Introduction. Foreword. Contributors. Part 1: Basic Concepts of Dance/Movement Therapy. 1 We Dance from the Moment Our Feet Touch the Earth. 2 The Creative–Artistic Process in Dance/Movement Therapy. 3 Therapeutic Relationships and Kinesthetic Empathy. 4 Dance Therapy: Motion and Emotion . Part 2: The Path from Theory to Practice. 5 BASCICS –An Intra/Interactional Model of DMT with the Adult Psychiatric Patient. 6 Body, Style and Psychotherapy. 7 Family Dance/Movement Therapy: A Systems Model. 8 Becoming Whole Again: Dance/Movement Therapy for Those Who Suffer from Eating Disorders. 9 Dance/Movement Psychotherapy in Early Childhood Treatment and in Pediatric Oncologic. 10 Amazon Journeys- Dance Movement Therapy Interventions in Palliative Care. 11 Dance Movement Therapy and Acquired Brain Trauma Rehabilitation. 12 Dancing with Hope: Dance Therapy with People with Dementia. Part 3: Aspects Integral to the Practice of Dance/Movement Therapy. 13 Laban’s Movement Theories: A Dance/Movement Therapist’s Perspective. 14 Applying the Kestenberg Movement Profile in Dance/Movement Therapy: An Introduction.15 Emotorics: A Psychomotor Model for the Analysis and Interpretation of Emotive Motor Behavior. 16 Cultural Consciousness and the Global Context of Dance/Movement Therapy. 17 Encouraging Research in Dance/Movement Therapy. Afterword.

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Book SynopsisDance has always been an important aspect of all human cultures, and the study of human movement and action has become a topic of increasing relevance over the last decade, bringing dance into the focus of the cognitive sciences. Since the first edition of The Neurocognition of Dance was published, research into the cognitive science of dance has expanded extensively, with the number of scientific studies focusing on dance and dance-related topics in cognitive psychology growing significantly.Featuring three new chapters addressing topics that have become highly relevant to the field in recent years neuroaesthetics, entrainment, and choreographic cognition as well as progress in teaching based on novel methods, this comprehensively revised and updated new edition of The Neurocognition of Dance is full of cutting-edge insights from scientists, researchers, and professionals from the world of dance.Also now including online material suchTable of ContentsIpke Wachsmuth: Foreword for the first editionFreya Vass-Rhee: Foreword for the second editionBettina Bläsing, Martin Puttke & Thomas Schack: Introduction: Moving towards a multidisciplinary neuro-cognitive science of dancePart II: The dance perspectiveMartin Puttke: Learning to dance means learning to think!Galeet BenZion: The Kinematics Teaching Methodology: Marrying kinesthetic stimuli with reading instructionElizabeth Waterhouse: In-Sync: Entrainment in danceGregor Zöllig: Searching for that 'other land of dance': The phases in developing a choreographyScott deLahunta & Philip Barnard: Seeing the ‘choreographic mind’: Three analytic lenses developed to probe and notate creative thinking in dancePart II: The science perspectiveThomas Schack: Building blocks and architecture of dance: a cognitive–perceptual perspectiveDavid A. Rosenbaum: Shall we dance again? Action researchers and dancers can move togetherHolk Cruse & Malte Schilling: Getting cognitiveBettina Bläsing: The dancer’s memory: learning with the body from the remembered, the percieved and the imaginedPart III: Neurocognitive Studies of DanceBeatriz Calvo-Merino: Neural mechanisms for seeing danceEmily S. Cross: Building a dance in the human brain: Insights from expert and novice dancersGuido Orgs, Beatriz Calvo-Merino & Emily S. Cross: Knowing dance or knowing how to dance? Sources of expertise in aesthetic appreciation of human movement.Corinne Jola: Choreographed science: Merging dance and cognitive neuroscience

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Book SynopsisThe contributors to Race and Performance after Repetition explore how theater and performance studies account for the complex relationship between race and time. Pointing out that repetition has been the primary point of reference for understanding both the complex temporality of theater and the historical persistence of race, they identify and pursue critical alternatives to the conceptualization, organization, measurement, and politics of race in performance. The contributors examine theater, performance art, music, sports, dance, photography, and other forms of performance in topics that range from the movement of boxer Joe Louis to George C. Wolfe''s 2016 reimagining of the 1921 all-black musical comedy Shuffle Along to the relationship between dance, mourning, and black adolescence in Flying Lotus''s music video “Never Catch Me.” Proposing a spectrum of coexisting racial temporalities that are not tethered to repetition, this collection reconsiders centraTrade Review“Offering a groundbreaking take on one of the most central premises of performance studies, this innovative volume advances theoretical and interpretive articulations of time that expand upon and challenge long-held assumptions about performance as repetition. It significantly expands performance theory and promises to animate conversations about performance, race, and time going forward. This collection is truly a breath of fresh air.” -- Ramón H. Rivera-Servera, coeditor of * Blacktino Queer Performance *“‘What time is it?!’ Race and Performance after Repetition offers a pathbreaking and long overdue intervention in performance studies by posing this sly and urgent question from a multiplicity of critical vantage points. This brilliant and inspired collection of essays unsettles the very foundations of the field by tracing, interrogating, and ultimately questioning the dominant logic of repetition as a foundational theoretical axiom in performance studies scholarship by way of calling attention to the difference that race makes. As this anthology demonstrates, the material historical conditions of race demand a wider, deeper, and more robust critical lexicon that moves beyond the grammar of temporal repetition. It is a volume that heralds new times in the field.” -- Daphne A. Brooks, author of * Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910 *“Race and Performance After Repetition is worth reading from cover to cover, both for the engaging and diverse methodologies on offer and for its overarching interest in what scholars of performance studies miss if they adhere too closely to the conventions of the field.” -- Christina Knight * American Literary History *“The new collection Race and Performance After Repetition moves several fields forward, among them theatre, dance, and performance studies, Black studies, cultural studies, anthropology, and American studies. That it does so is a testament to the richness and interdisciplinarity of the animating impulse behind the collection, the thought of José Esteban Muñoz.” -- Ariel Nereson * Journal of Dramatic Theory and Criticism *“Colbert, Jones, and Vogel have assembled a truly excellent collection of new work . . . of some of the most exciting performance theorists working in the field today. . . . The editors and contributors alike have collectively produced something magnificent.” -- Takeo Rivera * Modern Drama *“As a collection [Race and Performance after Repetition] pushes on how repetition takes shape; it offers enlightening albeit disparate interventions in thinking about how race, time and performance produce meaning as an ensemble. . . . I finished the book and wanted to start it again.” -- Sean Metzger * Performance Research *Table of ContentsAcknowledgments vii Introduction: Tidying Up after Repetition / Soyica Diggs Colbert, Douglas A. Jones Jr., and Shane Vogel 1 Part I. Toggling Time: Metatheaters of Race 1. So Far Down You Can't See the Light: Afro-Fabulation in Branden Jacob-Jenkins's An Octoroon / Tavia Nyong'o 29 2. The Performance and Politics of Concurrent Temporalities in George C. Wolfe's Shuffle Along / Catherine M. Young 46 3. A Sonic Treatise of Futurity: Universes' Party People / Patricia Herrera 71 Part II. Choreo-Chronographies 4. Joe Louis's Utopic Glitch / Tina Post 103 5. Sorrow's Swing / Jasmine Johnson 127 6. Parabolic Moves: Time, Narrative, and Difference in New Circus / Katherine Zien 142 7. Choreographing Time Travel: Rethinking Ritual through Korean Diasporic Performance / Elizabeth W. Son 173 Part III. Temporal (Im)mobilities: Dwelling Out of Time 8. Carceral Space-Times and The House That Herman Built / Nicholas Fesette 199 9. Performance Interventions: Natality and Carceral Feminism in Contemporary India / Jisha Menon 220 10. Whitnessing Queer Flights: Josué Azor's Lougawou Images and Antihomosexual Unrest in Haiti / Mario Lamothe 242 11. The Body Is Never Given, nor Do We Actually See It / Joshua Chambers-Letson 270 Bibliography 293 Contributors 317 Index 321

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Book SynopsisAt its heart a collection of love poems, Because we could not dance at the wedding is about coming out, coming to terms and settling down.Through a series of vividly observed scenes – from single- bedded student flat to registry office waiting room, from a clumsy hotel-room dance to the enforced domestic retreat of lockdown – these poems chronicle a relationship across two decades. Michael McKimm, whose work has been described as ‘powerfully tactile’ (Penelope Shuttle) and ‘delicately momentous’ (TLS), has developed a gently radical urban-pastoral, where beating the bounds of his east London neighbourhood may be a negotiation with anxiety and threat, but is always – ultimately – a celebration of falling in love and finding joy in an uncertain world.Trade ReviewMichael McKimm’s Because we could not dance at the wedding tells the story of a queer couple, reminding us of the beauty of a life shared, whether birdwatching, travelling on the London Underground, or joining a Pride parade. McKimm could be a queer Robert Frost or a modern Wordsworth, but McKimm is an inheritor of Michael Longley too with the crafted phrasing, the lyric quality, and quiet beauty.There is much to enjoy in the careful attention and gorgeous moments of intimacy recorded with care and authenticity. Michael McKimm is a brilliant writer on relationships, about nature, about the wondrous details of being alive. Zoë Brigley;Michael McKimm is that objet d’art discovered at a car-boot sale – surprise turning to excitement as the item is rolled slowly in the hand. With this new collection, McKimm’s abilities once again skilfully illuminate the seemingly mundane; the flaneur constrained by lockdown measures peering out of his window,still driven to celebrate the world. Similarly, McKimm rejects restrictions on gay relationships and practices, and instead argues for, and honours, gay love in defiant and compassionate ways. However, poetry is never sacrificed for the conveyance of a reductive message; instead McKimm employs poetry’s full tool- kit.Turn this work in your hand, study it, observe its beauty. Paul MaddernTable of ContentsLove Poem with Goshawk 1 Because we could not dance at the wedding 3 To Go About 4 Conversion 14 What the River Carries 16 Black Snow 18 From the Kitchen Window 19 Romford Road and Broadway 27 Love Poem with Beech Coppard 31 Poem for one whose birthday falls in winter 33 What the greenfinch actually sounds like 34 Low Traffic Neighbourhood 38 Tattoo 39 Heatwave 45 Aubade 47 Rummikub in Co. Antrim 48 Daffodils 50 Love Poem with Sanderling 53 Acknowledgements 55

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Book SynopsisIn his first new fiction since winning the National Book Award for The Absolutely True Diary of a Part-Time Indian, best-selling author Sherman Alexie delivers a virtuoso collection of tender, witty, and soulful stories that expertly capture modern relationships from the most diverse angles. War Dances brims with Alexie’s poetic and revolutionary prose, and reminds us once again why he ranks as one of our country’s finest writers.With bright insight into the minds of artists, entrepreneurs, fathers, husbands, and sons, Alexie populates his stories with average men on the brink of exceptional change: In the title story, a son recalls his father’s “natural Indian death” from alcohol and diabetes, just as he learns that he himself may have a brain tumor; “The Ballad of Paul Nonetheless,” dissects a vintage clothing store owner’s failing marriage and courtship of a Puma-clad stranger in airports across the country; anTrade Review"Sherman Alexie is not a finicky writer. He is often messy and in-your-face in a way that can make you laugh (or shudder) when you least expect to... War Dances is Alexie's fiercely freewheeling collection of stories and poems about the tragicomedies of ordinary lives." --O, the Oprah Magazine "Alexie has a wry, subversive sensibility... The structure [in War Dances] is sophisticated yet playful, a subtle way to bring lightness to heavy topics such as senility, bigotry, cancer, and loneliness... A mix tape of a book, with many voices, pieces of different length, shifting rhythms, an evolving story."--Los Angeles Times "Smart modern stories interspersed with witty and deep-feeling verse."--San Francisco Chronicle "Sherman Alexie mixes up comedy and tragedy, shoots it through with tenderness, then delivers with a provocateur's don't-give-a-damn flourish. He's unique, and his new book, War Dances, is another case in point."--Seattle Times "Alexie's works are piercing yet rueful. He writes odes to anguished pay-phone calls, to boys who would drive through blizzards to see a girl, to couples who need to sit together on airplane flights even though the computer thinks otherwise... [A] marvelous collection."Miami Herald "War Dances taps every vein and nerve, every tissue, every issue that quickens the current blood-pulse: parenthood, divorce, broken links, sex, gender and racial conflict, substance abuse, medical neglect, 9/11, Official Narrative vs. What Really Happened, settler religion vs. native spirituality, marketing, shopping, and war, war, war. All the heartbreaking ways we don't live now--this is the caring, eye-opening beauty of this rollicking, bittersweet gem of a book." --PEN/Faulkner judge Al Young "Few other contemporary writers seem willing to deal with issues of race, class, and sexuality as explicitly as Alexie ... ["War Dances" is] a virtuoso performance of wit and pathos, a cultural and familial critique and a son's quiet, worthless scream against the night as his father expires ... [that] reminds me of the early 20th Century master of the short form Akutagawa Riyunosuke... Yet again Sherman Alexie has given us a hell of a ride."--Barnes & Noble Reviews "War Dances is maybe the most personal book Alexie has ever published, and it's certainly one of his most readable. The closest thing to a historical precedent for this book is Palm Sunday, Kurt Vonnegut's wildly entertaining self-described 'autobiographical collage' of anecdotes, fiction, reminiscences, and other work... Each piece firmly builds on some part of the other, like the songs on a good mix tape... The asymmetrical collection on display in War Dances works as a supremely gratifying reading experience."--The Stranger "Penetrating ... Alexie unfurls highly expressive language ... [in] this spiritedly provocative array of tragic comedies."--Publishers Weekly "Encounter [Alexie's work] once and you'll never forget it."--Library Journal "Alexie is at his best in this collection of hilarious and touching stories."--Milwaukee Journal Sentinel "[With War Dances], Sherman Alexie enhances his stature as a multitalented writer and an astute observer of life among Native Americans in the Pacific Northwest... [An] edgy and frequently surprising collection."--Bookpage "Remarkable ... Wonderful ... [Alexie's] work reveals both the light and dark within native American life. A paradox in his writing is that you can be in the middle of delighted laughter when he will hit you with a sentence so true to the core of a character's pain that you suck your breath or are startled to realize you are crying."--The Globe and Mail "Alexie is a master storyteller whose prose is laced with metaphoric realities of life, mixed with triumph and tragedy... War Dances is vintage Alexie ... [and] should be savored... Fans will not be disappointed."--The Grand Rapids Press

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Book SynopsisAn engaging overview of dance from the Medieval era through the BaroqueTrade ReviewA big bite of dance history scholarship is undertaken in this study, and it does not seem to be too big for Jennifer Nevile, the editor of the volume, to chew. She manages to weave an introduction into the book, and each of its six subsections make the promise of its lofty title (and the ideas it appears to embrace) within her grasp. Given the book's vast chronological sweep-rather more than the 500 years suggested in the title, since the very useful essay on 'Plato's Philosophy of Dance' by Graham Pont increases the range substantially-it was my guess, when I embarked on my journey through its pages, that I would find some themes on spectacle or the carnivalesque that would override chronology. Or maybe there would be a sociological/anthropological approach to the embodiment of status relationships (politics) through dance that would render chronology secondary to social configurations. With excited anticipation I dove in, expecting to find something along these lines. Although I was not disappointed, I discovered something quite different. The book features a nice selection of generally excellent essays by some leading authorities in historical dance. Each essay offers information situated in its own time frame, and each presents a secure control of primary and secondary sources and includes a very useful list of recommended reading at its conclusion. Some essays provide tantalizing new details (John S. Powell's piece on Beauchamps and public theaters in 17th-century France and David R. Wilson's review of the basse danse are good examples). Some interpret well-known material in new and promising ways. Jennifer Thorp's piece on 'Dance in the London Theatres c.1700-1750' makes me look forward to her important new work. Two essays review material the authors have already addressed, but nevertheless do so here in a compellingly compact way; Ken Pierce's offering on the choreographic structure of Barouque dance and Margaret M. McGowan's essay on court dancing in 16th and 17th-century France. Only a pair of essays (not counting the deceptively erudite and versatile 'Introduction and Overview' by Nevile herself) really fit the themes of bodies, politics, and spectacle announced by the title. Julia Prest's offering on politics and ballet in Louis XIV's France is pretty perfunctory. But Linda J. Tomko's essay on 'Mr. Issac's The Pastorall and Issues of "Party"' really does embrace the kind of inquiry I was expecting. Tomko's is a truly analytical study that responds with vibrancy to the themes called for by the volume's editor. Most of the authors represented here undertake their tasks with precision and skill. Many succeed, and all should be acknowledged for their contribution: those not already mentioned include Alessandro Arcangeli; Katherine Tucker McGinnis, and Karen Silen. Jennifer Nevile's multiple contributions to the volume cannot be praised sufficiently; her essays on Renaissance dance are impressive, her introduction to the volume full of perception. I suppose we must await some future in which an individual truly finds a connection among the various manifestations of social, stage, and court dancing over the ages. But I wonder if this is really important. Dance, after all, is body, is spectacle, is 'politik' (however we configure it). I'm just not sure that Guglielmo Ebreo (15th century), Cesare Negri (c. 1535-after 1604), or Mr. Isaac (late 17th, early 18th century) shared some common agenda (let alone believed they did) when they created their splendid dances. Nevile, nevertheless, would have us believe that something like the same bodies, the same spectacles, the same kinds of politics were enacted (perhaps unintentionally) over and over again across the centuries addressed in this volume. Maybe she is right. The scholars she has brought together, however, do not appear to espouse such a grandiose vision but appear more concerned with a narrower, well-informed view of dancing in a given place at a given time. Congratulations to them all, and to Nevile for bringing this impressive collection to life. I have profited considerably from reading the offerings presented here, and I am certain others will, too. I will recommend readings from this volume to my students for years to come. -- Richard Semmens * Early Music America : Mag Historical Perf *Jennifer Nevile's accessibly written anthology seeks to explore many now obscure aspects of early dance: contributions by twelve scholars elucidate the fascinating, multifarious nature of dance from the thirteenth to the eighteenth century. . . . contributors demonstrate a high scholarly standard and pursue their chosen themes with assurance and passion. The great forte of this collection is its ambitious, multidisciplinary range, and the authors' practical insight, honed by years of performance experience, represents a rare feat indeed. The book should be required reading in dance studies.62 Summer 2009 -- Barbara Ravelhofer * Univeristy of Dunham *A big bite of dance history scholarship is undertaken in this study, and it does not seem to be too big for Jennifer Nevile, the editor of the volume, to chew. . . . Congratulations to . . . Nevile for bringing this impressive collection to life. I have profited considerably from reading the offerings presented here, and I am certain others will, too. I will recommend readings from this volume to my students for years to come. Spring 2009 -- Richard Semmens * University of Western Ontario, Professor of Music History *Nevile . . . has assembled an intriguing book that in many ways serves as an encyclopedia of early dance—a feat not easily accomplished in one volume. . . . [T]his is a fine resource for those who research this specialized period of dance history. An excellent glossary and bibliography and a 'list of dance treatises, manuscripts, modern editions, and translations' complete the book. Summing Up: Recommended. Graduate students and researchers.March 2009 * Choice *This is a great book for understanding music, dance and the part they played in the period covering 1250-1750, in Europe. It is filled with a whole cosmology of ideas. How the arc of five centuries connect, are enmeshed, develop and flow into our own day. This book is a treasure.Winter 2008 -- Paul-James Dwyer * Toronto Early Music Quarterly *The balanced assortment of general introductions and detailed case studies makes Dance, Spectacle, and the Body Politick, 1250-1750 a useful collection and an engaging 'read' for dance enthusiasts, reconstructors, and scholars alike. -- Emily Winerock * Dance Chronicle *[This] collection more than fulfills its goal of opening up pre-1750 dance studies to a general readership, but will also be of interest to the more informed dance historian. * Historical Dance *Dance, Spectacle, and the Body Politick makes an important contribution to existing dance scholarship ... The essays in Nevile's collection add significantly to this diligent work. Every essay is both informative and interesting, and each author provides a valuable list of further readings on the topic.Volume 16 Issue 2 2011 * European Legacy *This well-researched and original collection of essays on early dance addresses the picture of dance in society from 1250 to 1750. The interdisciplinary and wide-ranging approach of the book makes it very valuable for dance historians, musicologists and historians of ideas alike, as well as anyone interested in dance history. Issue 78, Autumn 2010 * Cahiers Elisabethains *. . . this ambitious anthology . . . manages to fill an academic void . . . .Vol. 35.1 2010 -- Nicole Haitzinger * University of Salzburg *An important book for any musician, theatrical performer, dancer, historian, reconstructor or anyone involved in recreating the work of this time period. Essays with detailed notes, glossary, bibliography and a list of dance treatises, manuscripts, modern editions and published translations are worth the price of the book alone. A great book for understanding music, dance and the part they played in the period covering 1250-1750, in Europe.Summer 2009 -- Paul-James Dwyer * Dance International *Table of ContentsPart 1. Introduction and Overview1. Dance in Europe 1250–1750Part 2. Dance at Court and in the City2. Dance in Late Thirteenth-Century Paris3. Dance and Society in Quattrocento Italy4. Dance in Sixteenth- and Early Seventeenth-Century FrancePart 3. Dance and the Public Theater5. Pierre Beauchamps and the Public Theater6. Dance in the London Theaters c. 1700–1750Part 4. Choreographic Structure and Music7. The Relationship between Dance and Music in Fifteenth-Century Italian Dance Practice 8. The Basse Dance c. 1445–c. 15459. Choreographic Structure in Baroque DancePart 5. Dance and the State10. Your Most Humble Subject, Cesare Negri Milanese11. The Politics of Ballet at the Court of Louis XIV12. Mr. Isaac's The Pastorall and Issues of "Party"Part 6. Dance, Society, and the Cosmos13. Plato's Philosophy of Dance14. Moral Views on Dance15. Order, Proportion, and Geometric Forms: The Cosmic Structure of Dance, Grand Gardens, and Architecture during the RenaissanceList of Dance Treatises, Manuscripts, Modern Editions, and TranslationsGlossaryBibliographyList of ContributorsIndex

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Book SynopsisBeginning in the late 1970s as an offshoot of disco and punk, dance-punk is difficult to define. Also sometimes referred to as disco-punk and funk-punk, it skirts, overlaps, and blurs into other genres including post-punk, post-disco, new wave, mutant disco, and synthpop. This book explores the historical and cultural conditions of the genre as it appeared in the late 1970s and early 1980s and then again in the early 2000s, and illuminates what is at stake in delineating dance-punk as a genre. Looking at bands such as Gang of Four, ESG, Public Image Ltd., LCD Soundsystem, The Rapture, and Le Tigre, this book examines the tensions between and blurring of the rhetoric and emotion in dance music and the cynical and ironic intellectualizing associated with post-punk.Table of ContentsIntroduction: Genealogies and Constellations 1. Death Disco to Disco Infiltrator: Spaces and Times of Dance-Punk 2. Dry Drums and Angular Guitars: Dance-Punk as Genre 3. Us v. Them: Dance-Punk and the “Other” Conclusion: Losing Its Edge: Whither Dance-Punk 10 Essential Tracks

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Book SynopsisWhy we enjoy works of art, and how repetition plays a central part in the pleasure we receive.Leonard Bernstein, in his famous Norton Lectures (1976) extolled repetition, saying that it gave poetry its musical qualities and that music theorists? refusal to take it seriously did so at their peril.Play It Again, Sam takes Bernstein seriously.In this book, Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that rhyme in metrical verse is identical to the way songwriters like Duke Ellington and Billy Strayhorn (Satin Doll) and Richard Rodgers and Lorenz Hart (My Funny Valentine) constructed their iconic melodies. Furthermore, the form of these tunes can be found in such classical compositions as Mozart?s Rondo Alla Turca and his German Dances as well as in galant music in general.The author also looks at repetition in paintings like Caillebotte?s Rainy Day in Paris, Warhol?s Campbell Soup Cans, and Pollock?s drip paintings.Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia?Giglia?s Girls in the Windows is one of the highest grossing photographs in history?are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington andbeyond.Artists have exploitedrepetitionthroughout the ages. The reason why it is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim.

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Book SynopsisThe author of the “sexy, insightful, and utterly charming” (BuzzFeed) Kiss Her Once for Me returns with a new queer rom-com following once childhood best friends forced together to drive their former teacher across the country. A long time ago, Logan Maletis and Rosemary Hale used to be friends. They spent their childhood summers running through the woods, rebelling against their conservative small town, and dreaming of escaping. But then an incident the summer before high school turned them into bitter rivals. After graduation, they went ten years without speaking. Now in their thirties, Logan and Rosemary find they aren’t quite living the lives of adventure they imagined for themselves. Still in their small town and working as teachers at their alma mater, they’re both stuck in old patterns. Uptight Rosemary chooses security and stability over all else, working constantly, and her most stable relationship

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Book SynopsisMemoir about ballet and illness from a creative writing teacher whose career as a ballerina was stopped by rheumatoid arthritis.RenÉe Nicholson’s professional training in ballet had both moments of magnificence and moments of torment, from fittings of elaborate platter tutus to strange language barriers and unrealistic expectations of the body. In Fierce and Delicate, she looks back on the often confused and driven self she had been shaped into—always away from home, with friends who were also rivals, influenced by teachers in ways sometimes productive and at other times bordering on sadistic—and finds beauty in the small roles she performed. When, inevitably, Nicholson moved on from dancing, severed from her first love by illness, she discovered that she retained the lyricism and narrative of ballet itself as she negotiated life with rheumatoid arthritis.An intentionally fractured memoir-in-essays, Fierce and Delicate navigates the traditional geographies of South Florida, northern Michigan, New York City, Milwaukee, West Virginia, and also geographies of the body—long, supple limbs; knee replacements; remembered bodies and actual. It is a book about the world of professional dance and also about living with chronic disease, about being shattered yet realizing the power to assemble oneself again, in a new way.Trade Review“Many dancers wrestle with one of the central questions of RenÉe Nicholson’s fabulous book: How does one live as an ex-dancer? The answers Nicholson explores will strongly resonate with those who long to lift the veil that shrouds creative pursuits in unnecessary mystique. I love Nicholson’s powerful prose: how the essays circle in and out of dance, the way movement comes alive on the page, and the articulate grace with which Nicholson writes about sudden disability. In Fierce and Delicate, Nicholson teaches us how to envelop our impossible dreams with gratitude for the life we have now.” RenÉe E. D’Aoust, author of Body of a Dancer “Lyrical and fascinating.”Buzzfeed NewsTable of ContentsPart I A Girl Who Wanted to Fly When I Was a Mouse Five Positions Never Famous Raked Stages: A Twelve-Step Program Coda: Partnering Out of the BluePart II A Woman Tethered to the Earth Hair: A Short History In Sickness A Royal in Appalachia Certified: Dancer Becomes a Teacher Claque Fierce and Delicate Six Impossible Things Before Breakfast Acknowledgments

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Book SynopsisLondon, 1939.'Downton with dance, perfect' Santa MontefioreAs war is declared once more, a shadow falls over Britain. The staff at the luxurious Buckingham hotel must do all that they can to keep their important guests happy, but behind the scenes they are scared. Away from the glitz and the glamour of the ballroom they must face this new reality.Newlywed Nancy knows that her brave husband, debonair dancer Raymond de Guise will want to fight for his country and enlist. She loves and supports him but is heartbroken at the thought of them being apart, and the dangers he will face.With a new hotel manager at the helm, no one knows what the future holds but as fashionable society retreats from London and staff depart to sign up for service, one thing is for certain; life at the Buckingham will never be the same again . . .

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Book Synopsis'Downton with dance, perfect' Santa Montefiore'A novel that's like a hug!' Phillip Schofield A sweeping tale of love and courage against the backdrop of World War II, from Sunday Times bestselling author and King of the Ballroom, Anton Du Beke. London, 1939.As war is declared once more, a shadow falls over Britain. The staff at the luxurious Buckingham hotel must do all that they can to keep their important guests happy, but behind the scenes they are scared. Away from the glitz and the glamour of the ballroom they must face this new reality.Newlywed Nancy knows that her brave husband, debonair dancer Raymond de Guise will want to fight for his country and enlist. She loves and supports him but is heartbroken at the thought of them being apart, and the dangers he will face.With a new hotel manager at the helm, no one knows what the future holds but as fashionable society retreats from London and staff depart to sign up for service, one thing is for certain; life at the Buckingham will never be the same again . . .'A rollicking good read, the work of a gifted storyteller' Daily Mail, on One Enchanted Evening

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Book Synopsis""Mary and John Crane's flight back toward their nesting grounds in Alaska was starting differently than most years. It wasn't that they had lost each other again, like they did the year before in Nebraska, but this spring John wasn't his normal self."" So begins Can You Dance Like John?, Jeff Kurrus's fictional account of one sandhill crane learning to cope with the loss of her mate.Trade Review“Can You Dance Like John? is a lovely tale and a great teaching tool that’s both poignant and optimistic. Illustrated lavishly by the photographs of Michael Forsberg, the pages speak to the dangers of being a modern-day migrating bird but also to the inner workings and wonders of the most magnificent migration spectacle in North America.”—Joel Sartore, photographer, author, conservationist, and founder of the National Geographic Photo Ark “Can You Dance Like John? is an emotionally moving and visually stunning tribute to Plains wildlife. It is also a universal story of loss and renewal, offering much-needed encouragement to those seeking to rejoin the miraculous dance of life.”—John T. Price, author of Daddy Long Legs: The Natural Education of a Father “This is a wonderful book full of striking photographs and a text grounded in a naturalist’s knowledge and love of cranes. Can You Dance Like John? also carries an important message of hope, promising we can survive and find a new normal after even our deepest griefs.”—Margaret Lukas, author of Farthest House “Can You Dance Like John? is refreshingly honest as it gently traverses the emotions of love, loss, and moving on. Alongside Michael Forsberg’s stunning sandhill crane photography, this is an eternal story beautifully translated for little ears.”—Mark Harris, author of Rodeo Nebraska and associate director of the University of Nebraska State Museum

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Book SynopsisIn her first posthumous work, the revered poet crafts a personal history of Black dance and captures the careers of legendary dancers along with her own rhythmic beginnings.Many learned of Ntozake Shange’s ability to blend movement with words when her acclaimed choreopoem for colored girls who have considered suicide/when the rainbow is enuf made its way to Broadway in 1976, eventually winning an Obie Award the following year. But before she found fame as a writer, poet, performer, dancer, and storyteller, she was an untrained student who found her footing in others’ classrooms. Dance We Do is a tribute to those who taught her and her passion for rhythm, movement, and dance.After 20 years of research, writing, and devotion, Ntozake Shange tells her history of Black dance through a series of portraits of the dancers who trained her, moved with her, and inspired her to share the power of the Black body with her audience. Shange celebrates

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Book SynopsisTrade Review"Risling Baldy skillfully argues that a Native feminist analytic reveals that Native feminisms were not introduced by Western culture, but have always been contained in oral narratives and are fundamental aspects of Native culture and society." -- Olivia Chilcote * News from Native California *"Risling Baldy distinctly positions the significance of coming-of-age ceremonies through arduous historical research, sophisticated contributions to Native feminisms, and Indigenous narrative interweavings." * Gender & Society *"Her book is well-written, well-argued, and a joy to read for scholars and general audiences alike!" * IK: Other Ways of Knowing *"This text is critical for scholars of Native studies, American Indian studies, anthropology, sociology, psychology, gender studies, history, and American studies, as well as other fields... In centering a gendered ceremonial practice, We Are Dancing for You documents that cultural resurgence, decolonizing praxis, and Native feminisms provide a space for academics to recognize the daily and ceremonial roles of Indigenous women in indigenizing space and place in their homelands and homewaters. Beyond the academy, Risling Baldy references the positive outcomes for ceremonial participants and reminds readers of the critical and utilitarian need to re-indigenize Indigenous life." * American Indian Culture and Research Journal *

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Book SynopsisMaking Video Dance: A Step-by-Step Guide to Creating Dance for the Screen is the first workbook to follow the entire process of video dance production: from having an idea, through to choreographing for the screen, filming and editing, and distribution. In doing so, it explores and analyses the creative, practical, technical, and aesthetic issues that arise when making screen dance.This rigorously revised edition brings the book fully up to date from a technical and aesthetic point of view, and includes: An extended exploration of improvisation in the video dance-making process New writing about filming in the landscape Additional writing on developing a practice and working with scores and manifestos Updated information about camera use, including filming with mobile phones A step-by-step guide to digital non-linear editing of screen dance Ideas for distribution in the 21st century Insights into Katrina's own Trade ReviewOn the first edition: "….timely and very exciting – a long overdue essential for the dance world" – Lea Anderson, Choreographer On this revised edition: Making Video Dance is a seminal work, the first of its kind for screendance/dance film educators. When Making Video Dance arrived on the scene, it soon became the pre-eminent resource for those interested in exploring the practice of making dance films. I whole-heartedly support the revision/additions to Making Video Dance, as its subject has only become more relevant since its first publication. - Ellen Bromberg, Distinguished Professor, University of Utah Katrina McPherson's Making Video Dance helped define the field. With this updated version, she once again implores us to think deeply about the process of bringing dance to the screen. - Douglas Rosenberg, author of Screendance: Inscribing the Ephemeral Image and The Oxford Book of Screendance Studies. Ever since it was first published, undergraduate and postgraduate screendance makers at Bath Spa University and beyond have found Making Video Dance an invaluable resource. For practical guidance in this exciting field of practice, I know of no other publication that covers the subject so well. This revised addition still contains the original wealth of information, but adds insight into the author's considerable experience in the field through anecdotes and thoughtful reflections. - Dr Christopher Lewis-Smith. Course Director Postgraduate Dance, Bath Spa University. Making Video Dance is indispensable reading for anyone interested in broadening their perception of what screendance is and how to make it, from one of the most innovative filmmakers in the field. As you read this book, heed the words of Master Yoda, "You must unlearn what you have learned," and it will forever change your approach to shooting and editing dance. - Ben Estabrook, director, lecturer at UC Berkeley, Department of Theater, Dance, and Performance Studies. Table of ContentsList of Illustrations From Los Angeles to Monte Carlo by Ellen Bromberg How did we get here? Some thoughts on making dance for television by Bob Lockyer Notes on using the exercises Acknowledgements Introduction to the revised edition Introduction to the original edition 1 GETTING STARTED 2 DANCE AND THE CAMERA 3 DEVELOPING THE WORK 4 CREATING YOUR ON-SCREEN WORLD 5 NEXT STEPS 6 WHEN FILMING BEGINS 7 LIGHT, SOUND AND CAMERA MOVEMENT 8 PREPARING TO EDIT 9 THE CHOREOGRAPHY OF THE EDIT 10 FINAL STAGES 11 OUT IN THE WORLD Glossary Contributors Bibliography Index

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Book SynopsisIsabel Burley returns to her childhood home to look after he mother, Serena, who is suffering from Alzheimer''s disease. There she finds a bemused, angry, charming old woman, prey to the threats of failing memory, the inability to run her own home - and the local villains who are eyeing her isolated home.As the villains inexorably move in, Isabel finds herself struggling with another threat from within. She thinks she has gone home to do some good, but is she really looking for the love she lacked as a child? Alienated by her mother''s growing eccentricity, the two women become locked in a relationship of love, hatred and simmering violence, with roots that go deep into the past.Trade ReviewSo powerful is Frances Fyfield's portrait of senility, it seems possible to hear Serena's marbles rolling away, one by one ... as taut and suspenseful as the very best of thrillers. Daily Telegraph If you haven't tried her, start with this novel, her best to date. You will soon become an addict. Evening Standard

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Book SynopsisDiscusses the development of dance from 1949 to 1984 and examines the work of dancers and choreographers.

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Book SynopsisTrade Review“A unique study”—Nature“After reading this book, you will never again think of dance without the physics that enables it, and you will never again think of physics without the art that can express it.”—Neil deGrasse Tyson“Physics and Dance will be of interest to dancers, scientists, and a general public who wish to understand an ongoing relationship between the two.”—Twyla Tharp"This fascinating book blends physics depth and dance details with a seemingly impossible grace.”—Daniel Whiteson, author of We Have No Idea: A Guide to the Unknown Universe“Each [uses] her discipline to shed light on the other’s. . . . While science tends to be viewed as more serious than dance, their approach revolves around collapsing hierarchies, giving equal weight to both.”—Siobhan Burke, New York Times review of Emily Coates's 2017 performance Incarnations, based in part on their collaboration“Dancer and choreographer Coates and physicist Demers have created a brilliant exercise that is both challenging and rewarding. As a dancer I had never thought of myself as a small mass in relation to a larger one, namely, planet Earth, at least not in those terms. Part of the fun for the reader lies in figuring out, from page to page, which voice is speaking; both are erudite, meticulous, and convincing.”—Yvonne Rainer

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Book SynopsisThe moving sequel to bestselling author Charles Martin’s The Dead Don’t Dance. After slipping into a four-months-long coma following the tragic loss of their son in childbirth, Dylan’s wife, Maggie, finally awakens—but can the young couple pick up the broken pieces of their lives and move forward?In a sleepy rural town in South Carolina, Dylan and Maggie Styles were a young couple in love, preparing eagerly for the birth of their first son. When the child was delivered stillborn and Maggie hemorrhaged and slipped into a coma, Dylan’s entire world shattered, but he never gave up hope that she would awaken. And four months later, she did.“When Maggie opened her eyes that New Year's Day some seventeen months ago, I felt like I could see again. The fog lifted off my soul, and for the first time since our son had died and she had gone to sleep–some four months, sixteen days, eighteen hours, and nineteen minutes earlier–I took a breath deep enough to fill both of my lungs.”Life begins again for Dylan when his beloved wife wakes, but so many things have changed. In this poignant love story that is redolent with Southern atmosphere, Dylan and Maggie must come to terms with their past before they can embrace their future. Full-length emotive Southern fiction The sequel to New York Times bestselling authorCharles Martin’s debut novel Part of the Awakening series Book one: The Dead Don’t Dance Book two: Maggie Also by Charles Martin: The Mountain Between Us, Chasing Fireflies, When Crickets Cry, and The Water Keeper

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Book SynopsisAs seen on The Today Show! One of the best fall reads!“A cinematic, charming heart-squeeze-of-a-book that has found its way to my Ultimate Comfort Reads shelf.” —Emily Henry, #1 New York Times bestselling authorFrom the author of the “genuinely funny” and “delightful” Loathe at First Sight (NPR), a young Korean American woman’s journey to finding a new career and new love means learning to embrace the awkward and unexpected—exploring familial expectations, finding your voice, and unimaginably falling for your childhood rival.When investment banker Jessie Kim is laid off in a virtual meeting and then overhears why (“she’s already being overpaid anyway for a woman” and “Asians are worker bees, not someone who can drum up new deals”) she delivers an “eff you guys” speech and storms out. After moving back home to Tennessee to live with her loving but meddling mother and father, she runs into her childhood nemesis—golden child Daniel Choi—at the local Asian grocery store. The smart, charming lawyer appears to have it all...while Jessie has nothing.Jess begrudgingly accepts Daniel’s help to relaunch her long abandoned Korean cooking YouTube channel: HANGUK HACKS, showcasing easy meal prep for busy professionals. But just as she discovers Daniel’s life isn’t as perfect as it seems and there’s more to him than meets the eye, he shows up for a life-changing business opportunity, and their rivalry is back on . . .“A funny, lovely mother-daughter story. And then there’s Daniel—yummy Daniel—and great food. Settle in and enjoy!” —Susan Elizabeth Phillips, New York Times bestselling author“So We Meet Again is a hilarious read. What can go wrong when, after a quarter-life crisis, you move back in with your hyper-competitive parents? This comeback story will charm you from beginning to end.” —Madeleine Henry, author of The Love Proof and Breathe In, Cash OutTrade Review"Funny, romantic and real-world novel. It centers on Jessie Kim, a young Korean woman who is laid off from her finance job... it tackles sexism and racism in gripping ways." — The Today Show “Some books just feel like an old friend, their first pages embracing you with an instant familiarity and warmth you can’t help but sink into. Suzanne Park’s So We Meet Again is that kind of book...A cinematic, charming heart-squeeze-of-a-book that has found its way to my Ultimate Comfort Reads shelf.” — Emily Henry, #1 New York Times bestselling author "A laugh out loud comedy with a warm heart. Jess's journey of finding her way amid the noise of the world's expectations will make you smile and sigh and want to chase your dreams." — Sonali Dev, award-winning author of Recipe for Persuasion “So We Meet Again is a hilarious read. What can go wrong when, after a quarter-life crisis, you move back in with your hyper-competitive parents? This comeback story will charm you from beginning to end.” — Madeleine Henry, author of The Love Proof and Breathe In, Cash Out “So We Meet Again by Suzanne Park is a mood booster in book form.” — Popsugar “Heartwarming and empowering. . . Park is a master in crafting comedic yet endearing moments that become the foundation for intricate character development. This is sure to be a hit.” — Publishers Weekly “A charming contemporary romance with heart, humor, and home cooking. . . The plot is packed with mirth and mouthwatering meal descriptions, and the book addresses the heavier subjects of workplace sexism and racism with deftness and care.” — Kirkus Reviews “Breezy and funny . . . A classic love/hate tale to wrap up the summer.” — Booklist "This engaging romance (Park’s second, after Loathe at First Sight) with great characters is highly recommended for fans of Jayci Lee’s A Sweet Mess." — Library Journal (starred review) "This charmer gives you not one, but two delightful kinds of love stories, one between Jessie Kim and her meddling mother and the other between Jessie and her childhood rival Daniel, whom she reunites with when she moves back home to Tennessee after being laid off. PSA: Daniel may just ruin all other modern literary men for you." — E! Online “A genuinely funny and charismatic heroine shines in Loathe at First Sight, the delightful and eye-opening debut adult novel by Suzanne Park. Park—a former stand-up comedian—negotiates her energized plot masterfully… a multi-layered happy-ever-after.” — NPR “Loathe at First Sight bursts with humor, heart, and great energy. I loved it! Park is a hilarious new voice in women’s fiction.” — Helen Hoang, author of The Kiss Quotient “Hilarious and poignant, Park’s debut sparkles as a great addition to the new voices of the rom com renaissance.” — Roselle Lim, author of Natalie Tan's Book of Luck and Fortune “Park gives us the story that only she could create. It's hilarious, smart, and the rom-com we need!” — Alexa Martin, ALA Award-winning author of Intercepted “[A] punchy adult debut set in the world of video game design. Park makes tough topics go down easy by couching them in wry humor and lighthearted romance, and her fierce, snarky heroine is irresistible. This smart rom-com is a winner.” — Publishers Weekly (starred review) on Loathe at First Sight

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Book SynopsisWhen Hime Makimura was young, her mother told her that she could be like a princess someday. Now that Hime is in middle school, overweight and unpopular, life is a cruel disappointment. Tango Minami is a popular high school boy who hides his job as a ballroom dance instructor to maintain his image. But when Tango's mom urges Tango to take Hime as a student, everything gets turned upside down! Will Tango's classmate find out about his embarrassing job? And will Hime find the self-confidence needed to be like a princess on the ballroom floor?

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Book SynopsisTrade Review"A primer of phenomenological categories and their application in varying contexts . . . Back to the Dance Itself is like a tribute, an unplanned Festschrift, celebrating Fraleigh's contribution to the dynamic entwining of dance and phenomenology." --Journal of Folklore Research"This beautiful collection is a choreography of voices emanating directly from movement. It celebrates Sondra Fraleigh's lifetime of integrating philosophical knowledge with somatic experiences at the same time as providing an empathic space for the contributions of others. Pressing contemporary issues such as climate change, the vitality of matter, and escaping from anthropocentrism are addressed, revealing new resonances for the philosophy and practices of phenomenology."--Susan Kozel, author of Closer: Performance, Technologies, Phenomenology"Diving deep inside the boundary spaces that link body and language, this book is a tour de force. Asking 'What makes dance what it is?', Fraleigh et al. thread experiential paths that will appeal to movement practitioners across the dance and somatics spectrum. Plural phenomenologies are made philosophically accessible, with evocative exemplars revealing dance's immense horizons: diverse, relationally purposeful and always closer than we think."--Daniel Deslauriers, California Institute of Integral Studies

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Book SynopsisMassively enjoyable' Dawn FrenchI Carried a Watermelon is a love letter to Dirty Dancing. A warm, witty and accessible look at how Katy Brand's life-long obsession with the film has influenced her own attitudes to sex, love, romance, rights and responsibilities.It explores the legacy of the film, from pushing women's stories to the forefront of commercial cinema, to its Gold Standard' depiction of abortion according to leading pro-choice campaigners, and its fresh and powerful take on the classic coming of age' story told from a naïve but idealistic 17-year-old girl's point of view.Part memoir based on a personal obsession, part homage to a monster hit and a work of genius, Katy will explore her own memories and experiences, and talk to other fans of the film, to examine its legacy as a piece of filmmaking with a social agenda that many miss on first viewing. One of the most celebrated and viewed films ever made is about to have the time of its life.Trade Review‘It takes a true obsessive to open the mind especially to something one has always taken for granted. I knew I loved DIRTY DANCING but I didn’t know why. Now, thanks to Katy Brand’s hilarious, touching, bonkersly true book, I do. One of the best reads of the year.’ Emma Thompson ‘This is a book to massively enjoy (as I did) and then immediately hand on to your daughter (as I did)! I’m off to watch Dirty Dancing again immediately, and so will you when you read this gem.’ Dawn French ‘A joyful book, and such a thoughtful one, too.’ Nigella Lawson ‘An honest, moving, hilarious journey into how our youthful passions shape the people we become. Katy is the finest dance partner to take you on this journey.’ Shappi Khorsandi ‘A joyous, funny, personal page-turner. I read it in one sitting.’ Deborah Frances-White, The Guilty Feminist ‘a witty, endearing and surprisingly political take on her lifelong obsession with Dirty Dancing’ The Bookseller ‘[this] affectionate homage encourages us to reassess Baby Houseman’s summer romance as a “feminist manifesto [and] instruction manual for girls” that sneaks in a potent pro-choice message.’ Neil Smith, Total Film ‘part-memoir, part film-studies dissertation [that] is very, very funny.’ The Sunday Times ‘I may be the only person on Earth not to have seen Dirty Dancing. Reading this book has been a revelation. I wish I hadn’t missed that formative time in my womanhood—the sense of self-assuredness and possession, daring and joy that Katy has found in this film. Fortunately she has carried it forward with her and shares it all with us—with insight, wit and relatability—in this hilarious, poignant and revelatory read.’ Desiree Burch ‘A hilarious tribute.’ Daily Express ‘An invaluable guide.’ The Sun ‘Hugely evocative with Katy’s trademark wit and warmth’ Woman

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Book SynopsisIntroduces the history and basic concepts of jazz dance. Easy-to-read text, vibrant photos, and dance tips will make readers want to get up and dance.

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Book SynopsisTeaching Again exposes the very human core of the teaching experience. This book is not just about teaching English/language arts; it is about the heart and soul of the vocation that is teaching. It is also not just about Tom Poetter, the English teacher; it is about every individual who has ever tried to educate, whether that act has taken place in a classroom, a church or synagogue, a museum, or at the kitchen table. Teaching Again brings to life the dance of questions that vie for attention in the mind of a teacher: How do I convince students that they want to learn to what I’m trying to teach? How do I make them understand that this is really actually important to them? And, perhaps most important, how do I get them to like me, and my discipline, in the process? These are the questions that all good teachers ask themselves at the beginning, middle, and end of every single day of their professional lives. Every moment of teaching is a human transaction, and Tom brings us right into the middle of that transaction. He allows the reader to see and hear and feel the tension of the tightrope he has chosen to walk with these students. The reader is right there for the thrilling “ah-ha!” moments, and we experience the anguish of his defeats.

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Book SynopsisWould you stand by your childhood best friend if they turned out to be a murderer? The unputdownable tale of passion, friendship and heartbreak from the Sunday Times bestselling author of LIAR Lesley Pearse''Had me gripped from start to end'' 5***** READER REVIEW''Outstanding . . . Lesley Pearse never disappoints'' 5***** READER REVIEW_________She killed two people in cold blood . . . But why?Susan is the woman who walked in a doctor''s surgery one day and committed murder.Beth is the lawyer assigned to defend Susan. But her client is uncooperative.Until both women realise that twenty-nine years earlier, they were childhood friends . . .While the evidence mounts up, their friendship starts to regrow.But for one of them, there can be no happy ending . . ._________''With characters it is impossible not to care about . . . this is storytelTrade ReviewWould you stand by your childhood best friend if they turned out to be a murderer? Till We Meet Again is an unputdownable tale of love, passion, and heartbreak . . . * from the publisher's description *

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Book SynopsisA steamy strangers to friends to lovers romance from Ana Huang, the New York Times bestselling author of the Kings of Sin and Twisted seriesOne year, two opposites, and a love that will blindside and, ultimately, shatter them.She''s an aspiring interior designer who dreams of falling in love.He''s an ex-football star who thinks love is a con.She''s a virgin, and he doesn''t do virgins.He''s cocky, infuriating, and not her type.She wants the fairytale.He wants freedom.***Blake and Farrah shouldn''t have fallen for each other the way they did: totally, completely, and irrevocably.Because they''re studying abroad in Shanghai, and they only have one year.Because forces at home threaten to rip them apart, even if they don''t know it yet.And because, eventually, they must face the most heart-breaking lesson they''ll ever learn: sometimes, even the greatest love can''t conquer all . . . This is the first book in a duet. It''s a full-length novel with no sudden cliffhangers, but Blake and Farrah''s story concludes in book two, If the Sun Never Sets. Recommended for 18+.***Why fans love Ana Huang ⭐ ⭐ ⭐!''King of Greed? More like King of my Heart (Ana Huang''s Version)'' Lauren Asher''WE HAVE NO NOTES JUST LOTS OF HORNY FEELINGS'' Ali Hazelwood''Ana did not come to play . . . it was giving everything I asked for. It exceeded my expectations astronomically. I''m now severely depressed it''s finished'' @Aymanreads''Ana Huang has done it ONCE again. But are we really surprised? No. Ana Huang truly is the queen of billionaire romances'' Goodreads Review''This book broke me into pieces and then pieced them back together'' Goodreads Review''Ana really said whether morally grey is your favourite OR NOT, let me give you someone to swoon over'' Goodreads Review''Ana Huang never disappoints. This was my most anticipated read of the month and it was EVERYTHING!!'' Goodreads Review

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