When outgoing Lily meets a little girl who is too afraid to talk in school or other places outside of her home, she befriends the silent girl, their friendship grows, and the silent girl feels comfortable enough to talk to her new friend. This beautifully illustrated story book is for children with selective mutism to see that they can make a friend like Lily. It is also a helpful tool for parents, friends and teachers of children with selective mutism to understand why these children are unable to talk in certain settings, and to explore some strategies that may help reduce their anxiety around speaking. Jo studied for a Masters Degree in Speech and Language Sciences and qualified as a Speech and Language Therapist at University College London in 2006. Since then she has worked with children in a range of home, clinic and educational settings and currently combines NHS and independent work.

A Facsimile re-print of Cesare Lisei's Cenni Biografici written on Giovanni Bottesini, first printed in the Gazzetta Musicale di Milano in 1886. This also contains the version in english translated by Tito Pagliardini combined in one book.

Una ristampa facsimilie della prima edizione del Metodo Contrabasso di Giovanni Bottesini.

American photographers have been fascinated by the lives of California farmworkers since the time of the daguerreotype. From the earliest Gold Rush-era images and the documentary photographs taken during the Great Depression to digital images today, photographers and farmworkers in California have had a complicated and continuously changing bond. In Everyone Had Cameras, Richard Steven Street provides a comprehensive history of the significant presence of California farmworkers in the visual culture of America. Street's account spans 150 years and sheds a new perspective on some of America's photographic masters, such as Carleton E. Watkins, Ansel Adams, and Dorothea Lange, and brings to light heretofore unknown and unheralded work by perceptive amateurs, socially committed journeymen, digital documentarians, commercial propagandists, and left-wing critics. Through their artistry, these figures powerfully revealed-and at times obscured-the human cost of industrial agriculture and cheap food. Photographers are deeply embedded in the farmworker story, Street shows, and it cannot be understood without paying attention to their ever-evolving vision. Indeed, cameras are so prevalent on picket lines and at strikes and demonstrations that it is normal to see not only photojournalists but also police, protesters, and growers awaiting a decisive-or incriminating-moment to capture. Deftly weaving the remarkable diversity of field photography into this story of labor activism, Everyone Had Cameras establishes a new history of California photography while chronicling the impact that this visual medium-called by some the common currency of modern dialogue-has had on a vast, dispossessed class of American workers.