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A powerful and heart-stopping young adult novel from a master storyteller. This is Steven Herrick at his best. 'There are worse things than school.' Luke sleepwalks through his days wagging school, swimming at the reservoir and eating takeaway pizza. That is until Charlotte shows up. Rumour is she got expelled from her city school and her family moved to the Blue Mountains for a fresh start. But when Luke's invited to her house, he discovers there's a lot more going on than meets the eye.

Once upon a time there was a little kitten called Kit who lived with a grown-up cat called Kizz Cat. Kit Kitten couldn't understand why sometimes Kizz Cat seemed sad and far away and others times was busy and rushing about. Kit Kitten was sometimes cold and confused in this topsy-turvy world and needed help to find ways to tell others about the big, medium and small feelings which were stuck inside. Luckily for Kit, Kindly Cat came along. Many children live in homes where things are chaotic and parents or carers are distracted and emotionally unavailable to them. This storybook, designed for children aged 2 to 6, includes feelings based activities to build a child's emotional awareness and vocabulary. A helpful tool for use by parents, carers, social workers and other professionals to enable young children to begin to name and talk about their feelings.

A suspenseful and gripping psychological thriller, Lynne Ramsay’s WE NEED TO TALK ABOUT KEVIN explores the fractious relationship between a mother and her evil son. Tilda Swinton, in a bracing, tour-de-force performance, plays the mother, Eva, as she contends for years with the increasing malevolence of her first-born child, Kevin (Ezra Miller). Based on the best-selling novel of the same name, WE NEED TO TALK ABOUT KEVIN explores nature vs. nurture on a whole new level as Eva's own culpability is measured against Kevin's innate evilness. Ramsay's masterful storytelling simultaneously combines a provocative moral ambiguity with a satisfying and compelling narrative, which builds to a chilling, unforgettable climax.

[...]the term becomes shorthand for any identification of teenage, or adolescent delinquency.13 As Stanley Cohen argues, the Teddy boys 'were perceptually merged into a day-to-day delinquency problem'.14 Although this is the dominant image of Teddy boys circulating in the 1950s, there were a few contrasting representations in the popular press. According to the tales Ed told me, when he left his jungle occasionally and crossed the frontier into civilized sections of the city and had a coffee with me, he lived the high old life, brave, bold and splendid, smashing crockery in all-night cafes and crowning distinguished colleagues with tyre levers in cul-de-sacs and parking lots, and even appearing in a telly programme on the Ted question where he stared photogenically, and only grunted.32 This passage identifies a number of characteristics that are common to the representation of Teddy boy subculture generally in the 1950s. [...]in the context of the 1950s it provides further 'evidence' of what would be perceived as the very real delinquency of this group. [...]Trevor Lomas, the Teddy boy figure in Spark's novel, is representative of the prevailing dominant culture rather than a potentially subversive threat to it.

The article provides an interpretation of “Courtroom Dramas,” a short story from J. J. Steinfeld’s fiction collection Would You Hide Me? (Gaspereau, 2003). First, the paper examines Steinfeld’s articulation of traumatic loss, and interprets the trial in “Courtroom Dramas” as a means for a grandson to mourn his deceased grandmother and (through memory of her) others unknown to him in the Holocaust. Here the fictional account of loss interacts productively with various theoretical models prevalent in the field of trauma studies. Second, historical justice issues embedded in this Holocaust story are revealed. Steinfeld’s fiction is situated, finally, within a body of auto-ethnographic writing on the Nazi genocide, work foregrounding trans-generational memory. Cet article offre une interprétation de Courtroom Dramas, une nouvelle du recueil de J. J. Steinfield, Would You Hire Me? (Me cacheriez-vous ?) (Gaspereau, 2003). Il porte d’abord sur la manière dont Steinfeld exprime une perte dramatique et présente une interprétation du procès dans Courtroom Dramas comme un moyen pour le petit-fils de faire le deuil sa grand-mère décédée et (en se souvenant d’elle) de celui d’autres victimes de l’holocauste qu’il n’a pas connues. Une interaction productive se fait ici jour entre l’exposé de la perte dans une œuvre de fiction et divers modèles théoriques prévalant dans le domaine des études de traumatismes. En second lieu, l’article révèle des questions de justice historique enchâssées dans cette histoire de l’holo-causte. Enfin, il situe la nouvelle de Steinfeld dans l’ensemble des écrits auto-ethnographiques sur le génocide nazi, un travail qui met en avant la mémoire transgénérationnelle.

His father had been hacked to death in his own bed with an ax the previous November. His mother was similarly brutalized and left for dead with her husband but survived. On the last Monday of that August, after several months and many investigative twists, turns, and fumbles, there sat the son--the prime suspect--in Ellen Laird's literature class, the first class she would teach for the semester. As a \"person of interest\" in the killings, he attended her community college--while the district attorney's office was building its case--nearly a year after the crimes had been committed. He sat in the center of the second or third row, invariably where the most confident students sit. In the end, the author believes the stories they read in her class helped many of them achieve some degree of understanding of the horror that had taken place in their community. Willa Cather's \"Paul's Case\" found them discussing whether tension between fathers and sons is inevitable, and the lengths to which some people will go to get what they want, if even for the short time of a flower's \"one splendid breath\" as Cather puts it. Through Tobias Wolff's \"Smokers,\" they looked at the airs that some private-school students assume and how and why young people strive for a life different from that of their parents. They looked at theft and at lying as measures people routinely use to get to where they want to go. The author asserts her students needed those stories and the subsequent discussion and reflective writing. She needed to help them understand that, through literature, they were experiencing life in all its darkness and all its light, without suffering any of the consequences. Literature was fulfilling its best purpose, as she sees it now. In November, in response to a subpoena, she turned in her class records. The indictment was handed down the next afternoon. What followed was a discussion of truth and fiction, of lies and vengeance, of evil and good, of families. Questions about bad seeds, greed, and money's role in success, corruption, and ruin. Those themes were all there in the stories they were reading, and most certainly in the story that was continuing to unfold in real life that had affected them so directly in their classroom.

Beginning with the McMartin pre-school trial in California in 1983, Satanic panic penetrated a range of popular culture products such as music, film and even board games. Having grown out of a cultural anxiety relating to the increased number of children in childcare in the 1970s as a result of women leaving the home to take up careers, anxieties surrounding childcare were ignited in the wake of the McMartin ritual abuse allegations. The horror genre is enjoying something of a golden age in terms of mainstream approval, but has traditionally endured some of the most ferocious moral attacks. Since its Gothic inception in the 18th century right up to the recent Momo challenge, the genre across a range of mediums has been accused of causing harm. [...]children are often drawn to horror because it explores extremely complex issues through the accessible filter of fiction.

LITERARY FICTION Facing debt and despair, a man takes a series of magical taxi rides that teach him how to create happiness for himself and his family. LITERARY FICTION In his first book in more than a decade, bestselling and award-winning Pynchon (Bleeding Edge) writes a Great Depression-era tale about private eye Hicks McTaggart, whose search for the missing heiress to a Wisconsin cheese fortune sets him on a globe-trotting adventure. MYSTERY Ruby and Cordelia, the ghost of the woman who previously lived in Ruby's apartment, return to solve another murder after their adventures in Blacke's A New Lease on Death. MYSTERY Following her investigation in Lillie's Blood Sisters (a Target Book Club pick), Syd Walker, an archeologist for the Bureau of Indian Affairs, is back and in search of missing skeletal remains and a teen girl.

By 1957, Fredric Wertham’s critique of comic books was well enough known that he was the specific target ofMad, a legendary American satire magazine. In his office, Wertham kept a framed copy of a mock article, “Baseball Is Ruining Our Children,” that appeared under the byline Frederick Werthless, M.D. (“Baseball” 1957). Alongside a dozen Wally Wood illustrations depicting leering, aggressive baseball players, the text of the article ridiculed psychological and monocausationist beliefs regarding juvenile delinquency by exaggerating the rhetoric of traditional critics of mass culture: For many years, I worked closely with “juvenile delinquents.” Then my hair turned gray,