New parents Pi and Cordelia have been enjoying a period of quiet since their last run-in with the reef's resident shark Troy.

Seeing an opportunity to kidnap Cordelia, Troy sends his loyal factotum Ronny into the community to distract Pi and the rest of his friends and neighbours while he concocts his plan of revenge.

But with Pi weary of strangers coming to the reef, it isn't long before he recognises Ronny's real intent and so sets about stopping Troy once and for all...

Fun, educational and easy, this latest addition to the best-selling series features 16 vibrant paintings by Edward Hopper, Mary Cassatt and more. Just brush water over the black-and-white outlines to make each picture burst magically into colour.

The leading history text for the Bahamas. - Offer a detailed study of Bahamian history over the last 30 years. - Present information in an accessible way with a clear design and layout. - Reinforce learning through a range of activities and exercises.

Why We Travel asks why humans yearn to travel, what motivates us and what we can gain from venturing out into the world. From epic global expeditions to microadventures closer to home, Bhardwaj recalls his travels from Uganda to Ukraine and calls on the insights of philosophers, athletes and scientists to help him explore what drives our longing for adventure. Why We Travel is both a highly personal and universal book, recounting Bhardwaj’s connection’s with his Indian heritage and his struggles with grief and identity. It asks how healing and hardship can be overcome in travel, and how serendipity and wonder can help awaken us to our surroundings and leave us more connected to the people and places around us.

Oddball comedy starring Matt Lucas. Bald and morbidly obese Franklin Franklin (Lucas) lives in an apartment complex filled with other quirky and eccentric characters including his stoner neighbour Tommy Balls (Johnny Knoxville) and the permanently bitter Mr. Allspice (James Caan). In a heated argument over rent, Franklin accidentally kills his landlord Mr Olivetti (Peter Stormare) and while staging the death as a suicide unwittingly causes a fire. When he hears that his brother has died from a brain tumour and left him a rather large amount of money in a Swiss bank account, Franklin sees an opportunity to make his escape, but before he can do so, he'll have to avoid detection by the fire investigation team led by Burt Walnut (Billy Crystal).

This book critically considers the dynamic relationship between clinical guidelines and medical negligence litigation, arguing that a balance must be struck between blinkered reliance on guidelines and casual disregard. It explores connections between academic law and professional practice, bringing together an array of perspectives which reveal that although guidelines may not be dispositive, they nonetheless play an important role in medical negligence law. The chapters provide compelling insights from academics, lawyers, barristers, doctors and healthcare professionals into the use of guidelines in determining the legal standard for breach of duty, thereby contributing to a holistic understanding of guideline usage in this area of law. Sociological considerations along with empirical findings are used to underpin these concepts. While focusing on the UK, contributors draw upon international law including that from the United States, South Africa, the Netherlands and other countries. Based on this analysis the conclusion offers a theoretical framework for practical application illustrated by a case-based discourse. This book makes a significant contribution to the knowledge base in the subject area. It is an essential read for legal academics and lawyers working in medical and health law, as well as for doctors and other healthcare professionals. It will be a key reference point for medical regulators, health organisation policymakers and clinical governance teams.

Animated adventure featuring the voice of Freddie Prinze Jr. When Pi (Prinze Jr), an ordinary fish from Boston, arrives at the exotic reef to live with his Aunt Pearl (Fran Descher), he is immediately attracted to Cordelia (Evan Rachel Wood), the fish of his dreams. There's just one problem - Troy (Donal Logue), the meanest shark in the ocean, who not only patrols the reef keeping its community in fear of becoming his next meal, but also has his eye on Cordelia and wants her for himself. Pi must join up with his new group of friends and try and outwit Troy and his henchmen, save the reef and win Cordelia.

"Why do stories come into one's head, or odd names or first lines? Perhaps deep in the brain there is a part that makes things up and they occasionally pop out if the stimulus is right. If nothing else is occupying the mind then the idea can be developed. Most of my poems are written at one sitting, with later tweaks. I use the form to be able to be more adventurous with words and to use the end of lines and the beginning of new ones to highlight a word or re-enforce an idea. Inspiration comes from events or sights or just thoughts. Often one works with a picture in one's head. An illustration therefore is sometimes a natural extension. I hope those included will add rather than detract from the reader's picture."

What is it like to radically change your life? Writer Alec Ash meets the Chinese who are doing just this, ‘reverse migrating’ from the cities to the remote countryside of southwest China — and joins them himself, in an extraordinary and inspiring journey of self-discovery. In 2020, Alec Ash left behind his old life as a journalist in buzzy Beijing, and moved to Dali, a rural valley in China’s Yunnan province, centred around a great lake shaped like an ear and overlooked by the Cang mountain range. Here, he hoped to find the space and perspective to mend heartbreak after a broken engagement and escape the trappings of fast-paced, high-pressured city life. Originally home to the Bai people, Dali has become a richly diverse community of people of all ages and backgrounds, with one shared goal: to reject the worst parts of modernity and live more simply, in tune with the natural world and away from the nexus of authoritarian power. It is into this community that Alec embeds himself, from political dissidents to bohemian hippies, charting his first year of life in Dali among these fascinating neighbours. The Mountains Are High is a beautifully written, candid memoir about the catalysts for change and personal development that comes from taking a leap of faith, and how remodeling your attitude to conventional success can genuinely transform your life. As one of the ‘new migrants’ tells Alec when he arrives: it is easy to change your environment, far more difficult to change your mind.

A giant woolly mammoth comes back to life in this action-packed adventure story. Time is running out! Barron Fox's hunting lodge is opening soon, and Jeevan discovers that he's planning a very big surprise for his guests - a woolly mammoth, brought back to life for them to hunt! If the lodge opens, the animals in the forest will be in danger too. Can Jeevan and his friends launch a daring rescue mission that tramples over Fox's plans? Perfect for fans of Beast Quest, Deadly 60 and Jurassic Park, these action-packed adventures will inspire readers to help save endangered species and combat extinction.

Surely you would like to be immortalised in art, fixed forever in perfection? Sadler's Wells, 1933. I would kill to dance like her. Disciplined and dedicated, Olivia is the perfect ballerina. But no matter how hard she works, she can never match identical twin Clara's charm.  I would kill to be with her. As rehearsals intensify for the ballet Coppélia, the girls feel increasingly like they are being watched. And, as infatuation turns to obsession, everything begins to unravel.

With simple, direct questions, thoughtful, compassionate answers and stunning illustrations by the Ukrainian artist Oksana Drachkovska, this book explores what it really means to be a refugee. Written with advice from the Refugee Council and drawing on conversations with refugees and aid workers from around the world, the questions cover all stages of a refugee's journey, from fleeing danger and embarking on hazardous journeys, to seeking asylum and struggling to find a new place to call home. The language and scenes have been carefully considered to be appropriate for younger children, providing an extremely useful educational tool for families and schools.

This book is two in one: "The Anatolikon", published in Great Britain for the first time, and a collection of new poems entitled "To the City". John Ash remains a savage wit, an elegist, a poet of celebration, and one who refuses to let his work be assimilated into orthodoxy or predictability.

Emerging chapter book readers will love this easy-to-read spy series with action, adventure, and edge-of-your-seat danger.

Why We Travel asks why humans yearn to travel, what motivates us and what we can gain from venturing out into the world. From epic global expeditions to microadventures closer to home, Bhardwaj recalls his travels from Uganda to Ukraine and calls on the insights of philosophers, athletes and scientists to help him explore what drives our longing for adventure. Why We Travel is both a highly personal and universal book, recounting Bhardwaj’s connection’s with his Indian heritage and his struggles with grief and identity. It asks how healing and hardship can be overcome in travel, and how serendipity and wonder can help awaken us to our surroundings and leave us more connected to the people and places around us.

Increasingly, many people in the democracies are turning to a strongarm politics for reassurance against globalisation, uncertainty and precarity. In countries ranging from the US and Britain to Brazil, India and Turkey, support grows for a nativist politics attacking migrants, minorities, liberals and elites as enemies of the nation. Is there a politics of belonging that progressive forces could mobilise to counteract these trends? After Nativism takes up this question, arguing that disarming nativism will require more than improving the security and wellbeing of the ‘left-behind’. The lines drawn by nativism are of an affective nature about imagined community, with meanings of belonging and voice lying at the heart of popular perceptions of just dues. This, argues Ash Amin, is the territory that progressive forces – liberal, social democratic, socialist – need to reclaim in order to shift public sentiment away from xenophobic intolerance towards one of commonality amid difference as a basis for facing existential risk and uncertainty. The book proposes a relational politics of belonging premised on the encounter, fugitive solidarities, public interest politics, collaboration over common existential threats, and daily collectives and infrastructures of wellbeing. There is ground for progressives to mount a counter-aesthetics of belonging that will convince the discontents of neoliberal globalisation that there is a better alternative to nativism.