A watercolour journey through the experiences of the forest folk during the pandemic.

This book introduces a series of characters, each with a personal struggle, often presented with a humoristic twist, and how they have dealt with it during a particularly trying time. The characters, although fictional, capture the struggles of many, even those who attempt to conceal theirs.

The overall theme is that we are all united in our struggles and challenges. The artworks are authentic, and although the pages were edited to blend with the text, the watercolour is unedited. The various textures and techniques match the characters’ personalities. The book has a distinctly South African flavour with international appeal.

My Word! tells the stories of Thérèse Hulme and the young people that she’s worked with during the last seventeen years.

Thérèse has taught many learners in some of the most marginalized communities in the Western Cape how to write and how to find their voices. Her narrative approach will, in turn, inspire teachers to shape a writing culture in their classroom. To assist teachers, the book contains many questions meant to help teachers critically examine existing practices and beliefs.

The book also has practical exercises for learners, questions for teachers to ponder and discussions meant to bring new insights to the CAPS goals. It is especially the stories, poems, drama texts and spoken word pieces by the young writers that will capture readers’ imagination.

Danny's Mum runs an orangutan reserve threatened by loggers. Danny saves the day with his timely blog. In this dual language text, line-by-line translation makes it easy for readers to check their understanding. A quiz at the end of the story recycles some of the language and can be used as a spur to further activities.

A watercolour journey through the experiences of the forest folk during the pandemic.

This book introduces a series of characters, each with a personal struggle, often presented with a humoristic twist, and how they have dealt with it during a particularly trying time. The characters, although fictional, capture the struggles of many, even those who attempt to conceal theirs.

The overall theme is that we are all united in our struggles and challenges. The artworks are authentic, and although the pages were edited to blend with the text, the watercolour is unedited. The various textures and techniques match the characters’ personalities. The book has a distinctly South African flavour with international appeal.

This book blends science and spirituality to see whole truths that "make all things new." Its aim is to help us realize that we who are people of faith cannot continue to practice our faith in isolation anymore. A quantum universe is telling us that we are all connected; that the God of one is the God of all; that diversity is a blessing; that the suffering of any of earth's people or any part of the planet is a desecration to us all.

The benefit of the book is to jumpstart us in a new spiritual direction that is as energizing as it is surprising. It encourages us to look at life through a new lens that will help us see more than we have ever seen before. It is one of those rare books on quantum science that transcends information and offers us a way of transformation.

Head down to the farm again with Agnes the Great Dane and a very special and individual hen called Rosie. Down on the farm the hens do everything together. They peck at their food in perfectly straight lines and sleep in a perfect row in their coop. All except one, that is: Rosie. Rosie likes to sleep in a tree and loves following Agnes the Great Dane round the farmyard. Sometimes being different from the others makes Rosie feel left out but, with Agnes's help, Rosie will discover that staying true to yourself might just be her greatest strength. Elle Rowley, the Founder of Solly Baby, brings laughter and charm to the second story in the Agnes series that shows you how to avoid following the crowd and embrace your true self.

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.

This Handbook provides an overview and assessment of the state-of-the-art research methods, approaches and applications central to economic geography. Understanding spatial economic outcomes and the forces and mechanisms that influence the geography of economic growth is of utmost importance and demands substantial theoretical and empirical research in economic geography, spatial economics and regional science. Such research is critically dependent upon good and reliable empirical data, and it is here that this Handbook contributes, providing a broad overview of up-to-date research methods and approaches. The chapters are written by distinguished researchers from a variety of scholarly traditions and with a background in different academic disciplines including economics, economic human and cultural geography, and economic history. Researchers and academics in economics and economic geography will find this a fundamental reference point and will benefit from the comprehensive assessment of research methods and approaches in the field. Practitioners and policy-makers will also find the practical applications to be of utmost value. Contributors: M. Andersson, G. Arbia, B. Asheim, R. Basile, M. Birkin, R. Boschma, S. Brakman, J. Broecker, L. Broersma, H-H. Chang, G. Clarke, M. Clarke, L. Coenen, J. Corcoran, S. Dall'erba, G. Espa, A.M. Esteves, A. Faggian, M.M. Fischer, K. Frenken, M. Fritsch, D. Giuliani, K.E. Haynes, G.J.D. Hewings, M. Horvath, G. Ivanova, N. Kapitsinis, C. Karlsson, H. Khawaldah, M. Kilkenny, J. Klaesson, S. Koster, J.P. Larsson, J. Lesage, Y. Li, I. Llamosas-Rosas, P.A. Longley, T. Mitze, J. Moodysson, I. Noback, T. Norman, J. Oosterhaven, J. Parajuli, M. Partridge, D. Psaltopoulos, M. Schramm, D. Skuras, A. Stephan, P. Thulin, S. Usai, J. van Dijk, C. van Marrewijk, F. van Oort, F. Vanclay, A. Varga, H. Westlund

A heartbreaking new novel about lost loves and past regrets. A guaranteed tearjerker. Blue Reynolds has the world at her feet. Her successful daytime chat show and the attendant wealth make her the envy of women all over the globe. But little do her fans know that behind the facade of designer clothes and luxury apartments, Blue is tormented by a tragic event in her past. Whilst on a work trip to Florida, Blue finds herself caught up in a love triangle between two men - a situation made even more problematic by the fact that the two men are father and son. Whilst Blue is drawn to her old flame Mitch, she also finds herself deeply attracted to his enigmatic son Julian. Her troubles are further increased when the press discover that she gave up a child for adoption as a troubled teen - a child that she has desperately tried to find in the years that followed. With the media camping outside her door, desperate to tarnish the reputation of one of the world's most famous women, Blue realizes she must face her demons and overcome her fears as well as follow her heart - even if that means giving up the life she has worked so hard to create. Old conflicts, long-held secrets, and thwarted expectations provoke the question of what makes love true. A compelling and poignant novel that will captivate readers of Anita Shreve and Rosie Thomas.

A broad range of cultural works produced in traditional and modern African communities shows a fundamental preoccupation with the concepts of communal solidarity and hospitality in societies driven by humanistic ideals. African Cultural Production and the Rhetoric of Humanism is an inaugural attempt to focus exclusively and extensively on the question of humanism in African art and culture. This collection brings together scholars from different disciplines who deftly examine the deployment of various forms of artistic production such as oral and written literatures, paintings, and cartoons to articulate an Afrocentric humanist discourse. The contributors argue that the artists, in their representation of civil wars, massive corruption, poverty, abuse of human rights, and other dehumanizing features of post-independence Africa, call for a return to the traditional African vision of humanism that is relentlessly being eroded by the realities of postcolonial nationhood.

Revising the grammar and vocabulary from Hello French - A Beginner's Guide to French, these simple activities build confidence and encourage enthusiasm for language learning. Clear, fun and familiar examples will spark a lifelong passion for French!