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.

After listening to me tell of the events of my life, my granddaughter, Alison, would say, "Grandma, please write these things down so I won't lose them." At the age of ninety, I started writing the events of my journey down the road long traveled. Alison and I invite you to travel with us through laughter, tears, hardships, the Great Depression, World War II, love and romance, and sickness and sorrow, to doors that closed, through doors that opened with faith, and much happiness along the way.

My book came into being quite by accident. My sister, Madeline F. Sparrow, needed some cards to send to her shut-ins. She had over eighty at the time. She had used all that she could find. I said, "Why don't I try to write a note of cheer?" I always thought about writing short stories. So I started writing verses. Each month, I would sit on my porch or at the kitchen window and think about God and how I felt on the day. I always looked at nature, the birds, squirrels, deer, etc. I wrote how I felt about the changes of the weather and the seasons. Many of those who received these verses responded with notes of thanks for lifting their day. Others were placed on the doors of nursing homes. Several suggested we have them printed into a book.

From AI to climate change, recent technological, ecological, and cultural transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development. Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol [On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the posthuman on screen crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity's entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, community, and desire. In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theory—an ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman experience.

Effective Practice in the Early Years supports students of degrees and foundation degrees in Early years, Early Childhood and related disciplines studying professional practice in the early years. *Focused on the knowledge and learning students need for all practice focused, professional practice and placements modules. *Supports students with their written assignments and assessments linking theory and practice. *Includes case studies, reflective tools, template examples and explores good practice. *Offers practical support and guidance for students working and learning in early years settings.

The Green Thread: Dialogues with the Vegetal World is an interdisciplinary collection of essays in the emerging field of Plant Studies. The volume is the first of its kind to bring together a dynamic body of scholarship that shares a critique of long-standing human perceptions of plants as lacking autonomy, agency, consciousness, and, intelligence. The leading metaphor of the book-"the green thread", echoing poet Dylan Thomas' phrase "the green fuse"-carries multiple meanings. On a more apparent level, "the green thread" is what weaves together the diverse approaches of this collection: an interest in the vegetal that goes beyond single disciplines and specialist discourses, and one that not only encourages but necessitates interdisciplinary and even interspecies dialogue. On another level, "the green thread" links creative and historical productions to the materiality of the vegetal-a reality reflecting our symbiosis with oxygen-producing beings. In short, The Green Thread refers to the conversations about plants that transcend strict disciplinary boundaries as well as to the possibility of dialogue with plants.