There was a faint rustling sound, like some small silk thing blown in a gentle breeze. He sat up straight, stark and scared, and a small wooden voice spoke in the stillness. "Pa-pa," it said, with a break between the syllables. From living dolls to spirits wandering in search of solace or vengeance, the ghostly youth is one of the most enduring phenomena of supernatural fiction, its roots stretching back into the realms of folklore and superstition. In this spine-tingling new collection Jen Baker gathers a selection of the most chilling hauntings and encounters with ghostly children, expertly paired with notes and extracts from the folklore and legends which inspired them. Reviving obscure stories from Victorian periodicals alongside nail- biting episodes from master storytellers such as Elizabeth Gaskell, M. R. James and Margery Lawrence, this is a collection by turns enchanting, moving and thoroughly frightening.

To say that children matter in Steven Spielberg's films is an understatement. Think of the possessed Stevie in Something Evil (TV), Baby Langston in The Sugarland Express, the alien-abducted Barry in Close Encounters, Elliott and his unearthly alter-ego in E.T, the war-damaged Jim in Empire of the Sun, the little girl in the red coat in Schindler's List, the mecha child in A.I., the kidnapped boy in Minority Report, and the eponymous boy hero of The Adventures of Tintin. (There are many other instances across his oeuvre). Contradicting his reputation as a purveyor of 'popcorn' entertainment, Spielberg's vision of children/childhood is complex. Discerning critics have begun to note its darker underpinnings, increasingly fraught with tensions, conflicts and anxieties. But, while childhood is Spielberg's principal source of inspiration, the topic has never been the focus of a dedicated collection of essays. The essays in Children in the Films of Steven Spielberg therefore seek to address childhood in the full spectrum of Spielberg's cinema. Fittingly, the scholars represented here draw on a range of theoretical frameworks and disciplines-cinema studies, literary studies, audience reception, critical race theory, psychoanalysis, sociology, and more. This is an important book for not only scholars but teachers and students of Spielberg's work, and for any serious fan of the director and his career.

Using the metaphor of a seed, Jen Baker encourages us all to nurture the promises God sows into our lives, and equips us to stand firm as we learn to understand the different stages a promise undergoes towards fulfilment. God loves to sow promises in our hearts, but they very rarely come to fruition immediately. Often they can take many years to come to fruition and too often the storms of life can rob the hope we have and we can let go of these promises. But what if these dark times were all part of the journey to fulfilled promises - would that give us hope to persevere? Through personal experience Jen Baker has learned over the years that God works in seasons, and the more that we can understand our current season, the greater impact it can have on future victories. As Jen has seen, too many people over the years give up on a promise, or abort that promise, simply because they did not understand their season. So, using a seed as a metaphor for the journey, Jen shares six key stages a promise undergoes toward fulfilled purpose. Each stage of the journey is detailed, including what to expect and how we could respond. The book weaves together biblical reflections on how Jesus' life fits this pattern, and her own personal successes and failures so that readers are inspired to view their lives through the lens of promise. With questions for readers to reflect on further, this book is a gently challenging look at how we can all live fully in the calling God has uniquely designed for each of us.

A unique look at Moses' spiritual journey - from hiding his face to speaking face to face with God. Moses 'hid his face' from God, yet later in the scriptures he spoke with God 'face to face'. What did it take for him to trust God enough to change positions, and what can we learn from that journey? Jen Baker skilfully explores these questions in Face to Face. This masterful study of Moses' life is interwoven with Jen's personal testimony which helps guide the reader on a journey towards a deeper intimacy with God. However, as Moses' example shows, this journey often means walking through challenges and trials. Jen encourages us to see that these trials can actually be an opportunity to press in, not to retreat, resulting in the revelation that we are created for holiness, not hiddenness. Intimacy is the journey that takes us from one place to the other. Whether you feel distant from God, or want to deepen your relationship with him, Face to Face will help encourage you to experience God in a new and powerful way.

To say that children matter in Steven Spielberg's films is an understatement. Think of the possessed Stevie in Something Evil (TV), Baby Langston in The Sugarland Express, the alien-abducted Barry in Close Encounters, Elliott and his unearthly alter-ego in E.T, the war-damaged Jim in Empire of the Sun, the little girl in the red coat in Schindler's List, the mecha child in A.I., the kidnapped boy in Minority Report, and the eponymous boy hero of The Adventures of Tintin. (There are many other instances across his oeuvre). Contradicting his reputation as a purveyor of 'popcorn' entertainment, Spielberg's vision of children/childhood is complex. Discerning critics have begun to note its darker underpinnings, increasingly fraught with tensions, conflicts and anxieties. But, while childhood is Spielberg's principal source of inspiration, the topic has never been the focus of a dedicated collection of essays. The essays in Children in the Films of Steven Spielberg therefore seek to address childhood in the full spectrum of Spielberg's cinema. Fittingly, the scholars represented here draw on a range of theoretical frameworks and disciplines-cinema studies, literary studies, audience reception, critical race theory, psychoanalysis, sociology, and more. This is an important book for not only scholars but teachers and students of Spielberg's work, and for any serious fan of the director and his career.