The second book in the hilarious Jess Jackson series from much-loved author and comedian Catherine Wilkins, with a new cover illustrated by Katie Abey - perfect for fans of Lottie Brooks! JESS and NAT are best friends again, but things have changed a bit. Jess has got new friends now and the comic they've put together has just LAUNCHED in school to great acclaim. Jess is REALLY enjoying her new-found FAME that she starts to neglect the wildlife project she's doing with Nat... But Scarlett, a new cartoonist on the block, is after her COMIC CROWN. It's felt-tip pens at dawn!

When Ella's dad refuses to let her have cool school shoes or stay up later than 9:30, Ella decides to take things into her own hands.

Being good hasn't got her anywhere, so why not try being bad for a while? It certainly looks a lot more fun and what's a few detentions here and there?

But going bad is a slippery slope and soon things are starting to spiral out of control.

Can Ella get things back on track? Or is she going to end up with egg on her face? A brilliantly funny new story from Catherine Wilkins, author of the much-loved 'My Best friend and Other Enemies' series.

A laugh-out-loud story about fighting for your right to steal the show, from the much-loved author of the My Best Friend and Other Enemies series. Amy Miller is a very positive person and she is fully prepared to be the star of the school Comedy Show. But when Harry is put in charge, he stops her from performing or writing or doing anything fun. Amy can't understand what's happening until her sister tells her: Harry is being sexist, and Amy must take a stand. Armed only with killer one-liners, Amy goes into battle to fight for her right to make people laugh. A brilliantly funny new story from Catherine Wilkins, stand-up comedian, podcaster and author of When Good Geeks Go Bad, The Weird Friends Fan Club and the My Best Friend and Other Enemies series.

Landscape Imagery, Politics and Identity in a Divided Germany, 1968-1989 explores the communicative relationship between German landscape painting and the viewing public that developed in the wake of the student revolutions of the late 1960s. The book demonstrates that, contrary to some historical thinking, more similarities than differences characterized the sociopolitical concerns of East and West Germans during the late Cold War Era, and that it was these shared issues that were reflected in the revival of the Romantic painting genre. Catherine Wilkins focuses on recovering the agency of the individual artist and in revising historiography with sensitivity to narration 'from below.' Interdisciplinary in nature, art historians can benefit from the study's analysis of images and artists not widely known outside of Germany. Additionally, the consolidation of statistics and data regarding German postwar cultural policy are relevant for political and cultural historians. The author contributes to the ongoing multidisciplinary debates regarding Histoire Croisee (in arguing that a clear dichotomy between East Germany and West Germany did not exist but rather that the residents of both nations shared a concern over some of the same issues of the period) and memory studies (by using images as primary historical sources, able to be employed in the recovery of potentially 'subversive' memory and identity). Issues related to gender relations, environmentalism, and spiritual belief are addressed by Wilkins, with appeal for scholars working with those particular themes. Poststructuralist and literary theorists as well can find arguments supporting an alternative means of writing history through artworks and private memories.

When Ella's dad refuses to let her have cool school shoes or stay up later than 9:30, Ella decides to take things into her own hands. Being good hasn't got her anywhere, so why not try being bad for a while? It certainly looks a lot more fun and what's a few detentions here and there? But going bad is a slippery slope and soon things are starting to spiral out of control. Can Ella get things back on track? Or is she going to end up with egg on her face? A brilliantly funny new story from Catherine Wilkins, author of the much-loved 'My Best friend and Other Enemies' series.

Break through old patterns of boredom and lack of fulfilment to discover your most brilliant life! Your intuition holds the key to a truly inspired life. It can, however, bring with it an increased sensitivity, so overwhelming that some find it hard to operate in day-to-day life. Others feel foolish or weird when acknowledging their intuition. In a world focussed on science we have amazing technology and vast physical abundance. However, ignoring our intuition has deprived us of untold benefits in our careers, well-being, and relationships. The Soul's Brain reveals the principles of conscious intuition. These principles are part of the structure of our universe, forming patterns in our lives which are as fundamental as breathing. Knowing these patterns allows you to translate between intuition and science. Understanding the neurology and logic of your intuition will allow you live a truly brilliant and inspired life. Catherine Wilkins guides you through the nine-step process to conscious intuition. You will learn how tuning into your intuition is a skill like any other - all it takes is knowledge and practice. Science and spirituality have a common language. You don't need to choose between science and intuition, you can use both together to achieve your full potential.

Landscape Imagery, Politics and Identity in a Divided Germany, 1968-1989 explores the communicative relationship between German landscape painting and the viewing public that developed in the wake of the student revolutions of the late 1960s. The book demonstrates that, contrary to some historical thinking, more similarities than differences characterized the sociopolitical concerns of East and West Germans during the late Cold War Era, and that it was these shared issues that were reflected in the revival of the Romantic painting genre. Catherine Wilkins focuses on recovering the agency of the individual artist and in revising historiography with sensitivity to narration 'from below.' Interdisciplinary in nature, art historians can benefit from the study's analysis of images and artists not widely known outside of Germany. Additionally, the consolidation of statistics and data regarding German postwar cultural policy are relevant for political and cultural historians. The author contributes to the ongoing multidisciplinary debates regarding Histoire Croisee (in arguing that a clear dichotomy between East Germany and West Germany did not exist but rather that the residents of both nations shared a concern over some of the same issues of the period) and memory studies (by using images as primary historical sources, able to be employed in the recovery of potentially 'subversive' memory and identity). Issues related to gender relations, environmentalism, and spiritual belief are addressed by Wilkins, with appeal for scholars working with those particular themes. Poststructuralist and literary theorists as well can find arguments supporting an alternative means of writing history through artworks and private memories.