At the International Conference Centre in Geneva, Hannah Rossier, formerly Annie Price, comes face to face with Neville Weir, someone from her childhood whom she never expected, or wanted, to meet again. As Neville's reasons for attending the conference become clear, the dark waters of Hannah's past start to rise. Hannah is a psychotherapist, with a specialist interest in memory and how connections are made between past and present. She has reinvented herself successfully, moving from a small northern town in England to Lucerne, Switzerland, with her husband, Thibaut. Nobody, not even Hannah, knows the full truth about herself. Her 'memories' consist of glimpses of the place where she played in childhood, known simply as 'The Wild'. Over the three days of the conference she has to decide whether she can avoid Neville, or whether she should submit to an encounter with him and with her past. And in her keynote lecture about the neuroscience of memory, how much to conceal or reveal. But can her specialism save her from drowning?

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

How do you write a novel? Practising novelists and teachers of creative writing reveal their working methods and offer practical advice. Subjects covered range from magic realism to characterisation, surrealism to historical fiction, via perspective, plot twists and avoiding being boring, among many others. This book is for creative writing students writers and readers of novels teachers of creative writing With contributions from Leone Ross, Tom Bromley, Jenn Ashworth, AJ Dalton, Nikesh Shukla, Stella Duffy, Mark Morris, Alison Moore, Nicholas Royle, Alice Thompson, Kerry Hudson, Toby Litt, Livi Michael, Joe Stretch, James Miller, Sarah Butler, Will Wiles, Graeme Shimmin Featuring Eighteen specially commissioned essays Creative writing exercises Top tips Lists of recommended novels

Revised and expanded for the third edition, this book is both a guide for your first ENT job and a tried and tested revision guide covering all aspects of the MRCS (ENT) OSCE. Written by a team of ENT specialists, the accessible text follows a step-by-step approach with each OSCE station based on the style of past questions. Recent changes in the structure of the examination, together with the nature of the examination in both COVID and post-COVID contexts are included. With over 120 colour images, the guide remains unrivalled as a tool with which to prepare for ENT exams. It is essential reading for candidates of the MRCS (ENT) OSCE and will also aid trainees in preparation for specialty registrar national selection interviews. It is highly recommended for GPs wishing to refresh their knowledge of how to assess common ENT problems and will also be an ideal reference for any junior doctor learning to take histories and examinations in their first ENT post. Finally, it is an invaluable resource for medical students undertaking their ENT attachment and in preparation for final examinations.

In addition to Valerie Warrior's crisp, fluent translation of the first five books of Livy's Ab Urbe Condita , this edition features a general introduction to Livy and his work, extensive foot-of-the-page notes offering essential contextual information, and a chronology of events. Three appendices--on the genealogies of the most prominent political figures in the early Republic, Livy's relationship with Augustus, and Livy's treatment of religion--offer additional insight into the author and the early history of Rome.