It was just a game...until it wasn't. Will Cate discover the assassin before it's too late? Perfect for fans of teen mystery books! TAG. You're It... At Cate's isolated boarding school Killer is more than a game—it's an elite secret society. Members must avoid being "killed" during a series of thrilling pranks—and only the Game Master knows who the "killer" is. When Cate's finally invited to join The Guild of Assassins, she thinks it's her ticket to finally feeling like she belongs. But when the game becomes all too real, the school threatens to shut it down. Cate will do anything to keep playing and save The Guild. But can she find the real assassin—before she's the next target? "An intriguing, tightly wound mystery. The game is on!" —Hannah Jayne, author of Truly, Madly, Deadly and Twisted Perfect for those looking for: Teen books for girls ages 11–14 Secret societies in fiction Psychological thrillers
Fresh meat! From a hospital of horrors to a runaway zombie train, it's an all-new onslaught of the slavering undead in the sequel to Kirsty McKay's killer debut! Just when you think you're out...it's the morning after the night of the return of the living dead. Or something like that. After running/bus-driving/snowboarding for her life alongside rebel Smitty, geeky Pete, and popular Alice, Bobby thought she'd found the antidote to the Carrot Man Veggie Juice that had turned the rest of their classmates into zombies. When Smitty (mmm...nom, nom) got chomped, Bobby pumped a syringe full of it into him herself.But now Bobby's a prisoner in some hospital of horrors, with no clue how she got there. And Smitty is missing. What if he isn't cured after all? Bobby knows she's got to find him, even if it means facing Scotland's hungry hordes -- plus Alice's buckets of snark -- again. And this time, zombies aren't the only evil stressing her out. The brain-dead are bad enough, but how can Bobby stop the big pharma business behind the epidemic? Especially when her own mom works for the company?
Gaia Gill is the last person in the world anyone would expect to go missing. Beautiful, athletic, and recently accepted to a prestigious college, she has everything to look forward to—but the night of her going-away party at the Moon Mountain ski resort, she disappears. Gaia's younger sister Esme is supposed to be flying back to England with her family after the party, but she can't leave with Gaia missing—especially because nobody remembers Gaia leaving the party. Or if they do, they're not saying. Everyone at the lodge has their own secrets: the little rich girl, the ex-boyfriend, the ski instructor, the failed reality star. Esme's out of her depth searching the dark, dangerous forests and icy slopes of Moon Mountain, until she teams up with a local boy who promises to help her. The clock is ticking, and it's down to Esme to piece the clues together and work out who—if anybody—is telling the truth.
Out of sight, out of their minds: It's a school-trip splatter fest and completely not cool when the other kids in her class go all braindead on new girl Bobby.The day of the ski trip, when the bus comes to a stop at a roadside restaurant, everyone gets off and heads in for lunch. Everyone, that is, except Bobby, the new girl, who stays behind with rebel-without-a-clue Smitty. Then hours pass. Snow piles up. Sun goes down. Bobby and Smitty start to flirt. Start to stress. Till finally they see the other kids stumbling back. But they've changed. And not in a good way. Straight up, they're zombies. So the wheels on the bus better go round and round freakin' fast, because that's the only thing keeping Bobby and Smitty from becoming their classmates' next meal. It's kill or be killed in these hunger games, heads are gonna roll, and homework is most definitely gonna be late.Combining the chill of THE SHINING, the thrill ride of SPEED, the humor of SHAUN OF THE DEAD, and the angst of THE BREAKFAST CLUB, Kirsty McKay's UNDEAD is a bloody mad mash-up, a school-trip splatter-fest, a funny, gory, frighteningly good debut!
From the author of Undead and Unfed comes a completely gripping, psychological whodunnit that will keep readers guessing to the last page. At Cate’s isolated boarding school, Killer Game is a tradition. Only a select few are invited to play. They must avoid being ‘killed’ by a series of thrilling pranks, and identify the ‘murderer’. But this time, it’s different: the game stops feeling fake and starts getting dangerous—and Cate’s the next target. Can they find the culprit … before it’s too late?
This book provides essential guidance for professionals and pre-qualifying students on how to gather and generate evidence of the impact of projects in the community. Including case studies from diverse community settings, it provides easy to implement, practical ideas and examples of methods to demonstrate the impact of community work. Considering not only evaluation, but also the complex processes of evidence gathering, it will help all those involved with work in the community to demonstrate the impact and value of their work. The book provides: • guidance for how to present different findings to different audiences; • methods for effectively demonstrating the value of your work; • how to demonstrate the scale, quality and significance of impact.
What did the Edwardians know about Spain and what was that knowledge worth? This book explores a vast store of largely unstudied primary source material to trace Spain's transformation in the British popular and economic imagination during the decades either side of the turn of the twentieth century.
Fresh meat! From a hospital of horrors to a runaway zombie train, it's an all-new onslaught of the slavering undead in the sequel to Kirsty McKay's killer debut! Just when you think you're out...it's the morning after the night of the return of the living dead. Or something like that. After running/bus-driving/snowboarding for her life alongside rebel Smitty, geeky Pete, and popular Alice, Bobby thought she'd found the antidote to the Carrot Man Veggie Juice that had turned the rest of their classmates into zombies. When Smitty (mmm...nom, nom) got chomped, Bobby pumped a syringe full of it into him herself.But now Bobby's a prisoner in some hospital of horrors, with no clue how she got there. And Smitty is missing. What if he isn't cured after all? Bobby knows she's got to find him, even if it means facing Scotland's hungry hordes -- plus Alice's buckets of snark -- again. And this time, zombies aren't the only evil stressing her out. The brain-dead are bad enough, but how can Bobby stop the big pharma business behind the epidemic? Especially when her own mom works for the company?
Out of sight, out of their minds: It's a school-trip splatter fest and completely not cool when the other kids in her class go all braindead on new girl Bobby.The day of the ski trip, when the bus comes to a stop at a roadside restaurant, everyone gets off and heads in for lunch. Everyone, that is, except Bobby, the new girl, who stays behind with rebel-without-a-clue Smitty. Then hours pass. Snow piles up. Sun goes down. Bobby and Smitty start to flirt. Start to stress. Till finally they see the other kids stumbling back. But they've changed. And not in a good way. Straight up, they're zombies. So the wheels on the bus better go round and round freakin' fast, because that's the only thing keeping Bobby and Smitty from becoming their classmates' next meal. It's kill or be killed in these hunger games, heads are gonna roll, and homework is most definitely gonna be late.Combining the chill of THE SHINING, the thrill ride of SPEED, the humor of SHAUN OF THE DEAD, and the angst of THE BREAKFAST CLUB, Kirsty McKay's UNDEAD is a bloody mad mash-up, a school-trip splatter-fest, a funny, gory, frighteningly good debut!
At a moment when the discipline of Canadian art history seems to be in flux and the study of Canadian visual culture is gaining traction outside of art history departments, the authors of Negotiations in a Vacant Lot were asked: is "Canada" - or any other nation - still relevant as a category of inquiry? Is our country simply one of many "vacant lots" where class, gender, race, ethnicity, and sexual orientation interact? What happens to the project of Canadian visual history if we imagine that Canada, as essence, place, nation, or ideal, does not exist? The argument that culture is increasingly used as an economic and socio-political resource resonates strongly with the popular strategies of "urban gurus" such as Richard Florida, and increasingly with government policy. Such strategies both contrast with, but also speak to traditions of Canadian state support for culture that have shaped the national(ist) discipline of Canadian art history. The authors of this collection stand at the multiple points where national culture and globalization collide, however, suggesting that academic investigation of the visual in Canada is contested in ways that cannot be contained by arbitrary borders. Bringing together the work of scholars from diverse backgrounds and illustrated with dozens of works of Canadian art, Negotiations in a Vacant Lot unsettles the way we have used "nation" to examine art and culture and looks ahead to a global future. Contributors include Susan Cahill (Nipissing University), Mark A. Cheetham (University of Toronto), Peter Conlin (Academia Sinica, Taipei), Annie Gérin (Université du Québec à Montréal), Richard William Hill (York University), Kristy A. Holmes (Lakehead University), Heather Igloliorte (Concordia University), Barbara Jenkins (Wilfrid Laurier University), Alice Ming Wai Jim (Concordia University), Lynda Jessup (Queen’s University), Erin Morton (University of New Brunswick), Kirsty Robertson (Western University), Rob Shields (University of Alberta), Sarah E.K. Smith (Queen’s University), Imre Szeman (University of Alberta), and Jennifer VanderBurgh (Saint Mary’s University).
The murder of Harvey and Jeannette Crewe in their Pukekawa farmhouse in 1970 remains New Zealand' s most infamous cold case. It spawned two trials, two appeals, several books, a film, and eventually a royal commission finding of police corruption.It also resulted in a free pardon, the only time the New Zealand government has bypassed the courts to set a convicted murderer free. And still, the Crewes' killer has not been found.Combining gripping narrative, detailed research and striking new testimony from those who were there, this book tells the complete story of the case for the first time.
This collection interrogates relationships between court architecture and social justice, from consultation and design to the impact of material (and immaterial) forms on court users, through the lenses of architecture, law, socio-legal studies, criminology, anthropology, and a former senior federal judge. International multidisciplinary collaborations and single-author contributions traverse a range of methodological approaches to present new insights into the relationship between architecture, design, and justice. These include praxis, photography, reflections on process and decolonising practice, postcolonial, feminist, and poststructural analysis, and theory from critical legal scholarship, political science, criminology, literature, sociology, and architecture. While the opening contributions reflect on establishing design principles and architectural methodologies for ethical consultation and collaboration with communities historically marginalised and exploited by law, the central chapters explore the textures and affects of built forms and the spaces between; examining the disjuncture between design intention and use; and investigating the impact of architecture and the design of space. The collection finishes with contemplations of the very real significance of material presence or absence in courtroom spaces and what this might mean for justice. Courthouse Architecture, Design and Social Justice provides tools for those engaged in creating, and reflecting on, ethical design and building use, and deepens the dialogue across disciplinary boundaries towards further collaborative work in the field. It also exists as a new resource for research and teaching, facilitating undergraduate critical thought about the ways in which design enhances and restricts access to justice.
This highly accessible guide equips community work and related professionals and students to make the best use of theory in their work. Linking contemporary theory and practice, the book guides the reader through such diverse areas as young people, adult learning, health, social media and leadership in community work.
Museums are frequently sites of struggle and negotiation. They are key cultural institutions that occupy an oftentimes uncomfortable place at the crossroads of the arts, culture, various levels of government, corporate ventures, and the public. Because of this, museums are targeted by political action but can also provide support for contentious politics. Though protests at museums are understudied, they are far from anomalous. Tear Gas Epiphanies traces the as-yet-untold story of political action at museums in Canada from the early twentieth century to the present. The book looks at how museums do or do not archive protest ephemera, examining a range of responses to actions taking place at their thresholds, from active encouragement to belligerent dismissal. Drawing together extensive primary-source research and analysis, Robertson questions widespread perceptions of museums, strongly arguing for a reconsideration of their role in contemporary society that takes into account political conflict and protest as key ingredients in museum life. The sheer number of protest actions Robertson uncovers is compelling. Ambitious and wide-ranging, Tear Gas Epiphanies provides a thorough and conscientious survey of key points of intersection between museums and protest – a valuable resource for university students and scholars, as well as arts professionals working at and with museums.
Constitutional Deference, Courts and Socio-Economic Rights in South Africaby Kirsty McLean2009ISBN: 978-0-9814124-8-1Pages: viii 246Print version: AvailableElectronic version: Free PDF available.
This new volume in the concise "How To" series explores the foundations and principles of continuing education of professionals and then relates these to the practice of teaching the various modalities used in CME. The areas covered include experiential learning, group dynamics, situated learning and reflective practice - and make these understandable for all health professionals tasked with teaching continuing medical education. An ideal introduction to teaching for clinical instructors.
More than Bombs and Bandages exposes the false assumption that military nurses only nursed. Based on author Kirsty Harris’ CEW Bean Prize-winning PhD thesis, this is a book that is far removed from the ‘devotion to duty’ stereotyping offering an intriguing and sometimes gut-wrenching insight into the Australian Army Nursing Service (AANS) during World War I. More than Bombs and Bandages provides rich pickings for all those interested in nursing history, women in the Australian military the application of medical treatments and World War I. What I enjoyed most about is Dr Kirsty Harris’s ability to reflect those nurses voices in a way that was so real – one could be there, the settings were so well understood from her research and the language kind of made a time warp in the reading. Very satisfying. As you know I have that Peter Rees book, but I could not get into it after reading the historical one. It was like comparing a great documentary to Facebook trivia!!! Rev’d Dr Barbara Oudt
Award-winning New Zealand writers Martin Edmond, Maurice Gee, Kirsty Gunn and Owen Marshall explore life and memory in this bundle of BWB Texts. These four works are combined into one easy-to-read e-book, available direct and DRM-free from our website or from international e-book retailers. Martin Edmond’s Barefoot Years is a memoir in which the author attempts to re-inhabit the lost domain of childhood. Widely regarded as one of New Zealand’s greatest fiction writers, Maurice Gee has written virtually no non-fiction. The exceptions are the two exquisite childhood reminiscences combined in a mini-memoir, Creeks and Kitchens. In this exquisitely written ‘notebook’ – ‘My Katherine Mansfield Project’ – Kirsty Gunn explores the meaning of ‘home’ in Thorndon. Owen Marshall reflects at length on his writing career and the forces that have shaped him as a writer, in Tunes for Bears to Dance To. BWB Texts are short books on big subjects by great New Zealand writers. Commissioned as short digital-first works, BWB Texts unlock diverse stories, insights and analysis from the best of our past, present and future New Zealand writing.
The Big Music tells the story of John Sutherland of 'The Grey House', who is dying and creating in the last days of his life a musical composition that will define it. Yet he has little idea of how his tune will echo or play out into the world - and as the book moves inevitably through its themes of death and birth, change and stasis, the sound of his solitary story comes to merge and connect with those around him. In this remarkable work of fiction, Kirsty Gunn has created something as real as music or as magical as a dream. One emerges at the end of it altered and changed. Not so much a novel as a place the reader comes to inhabit and know, The Big Music is a literary work of undeniable originality and power.
The mysterious disappearance and absence of a young woman from an isolated Scottish town has a profound impact on the lives of everyone she touched, but her possible homecoming could provide even more unsettling changes in their lives.
In 2009, Kirsty Gunn returned to spend the winter in her hometown of Wellington, New Zealand, also the place where Katherine Mansfield grew up. In this exquisitely written “notebook,” which blends memoir, biography, and essay, Gunn records that winter-long experience and the unparalleled insight it allowed her into Mansfield’s fiction. Gunn explores the idea of home and belonging—and of the profound influence of Mansfield’s work on her own creative journey. She asks whether it is even possible to “come home”—and who are we when we get there?
Living Life to the Fullest forges new understandings of the lives, hopes, and desires of children and young people with ‘life-limiting’ or ‘life-threatening’ impairments. Aimed at undergraduate students, this book contributes to contemporary political and theoretical debates about the human in an age of global precarity and austerity.
In this exquisitely written ‘notebook’, Kirsty Gunn explores the meaning of home. Returning to the city of her birth after an absence of thirty years, Gunn’s exploration quickly takes on new forms, developing into a ‘Katherine Mansfield Project’. Zig-zagging across Thorndon streets, Wellington hills and New Zealand childhoods, Gunn’s project charts a terrain of emotional attachment and the source of potent imaginative forces. A wonderfully connective work from the winner of the 2013 New Zealand Post Book of the Year.
The debut of an astonishing new literary talent, Rain proves that its author, Kirsty Gunn, is already a master of her craft. Written in luminous prose and embroidered with sensuous imagery, Rain is an unforgettable novel. Twelve-year-old Janey and her younger brother, Jim spend summers at a lake with their parents. Ignored for long stretches and then called upon suddenly to mix drinks or receive drunken kisses, the children huddle together in tender, compulsive closeness. Nourished only by their devotion to one another, the two fill their neglected hours exploring the lush, dangerous landscape and protecting each other from the unpredictable moods of the dark adult world that surrounds them. A haunting, beautifully rendered story that explores the hidden dangers of childhood, Rain has established Kirsty Gunn as one of the most promising and original writers of her generation.
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