LONGLISTED FOR THE WOMEN'S PRIZE FOR FICTION 'A compelling fable of decline, a lament for a way of life, and a warning about what society is already becoming. It is a capsule of England and its dystopian present ... as sad and angry as it is memorable' Rónán Hession 'Salt Lick is that rare beast – imaginative, risky storytelling where every sentence is a gift' Heidi James Britain is awash, the sea creeps into the land, brambles and forest swamp derelict towns. Food production has moved overseas and people are forced to move to the cities for work. The countryside is empty. A chorus, the herd voice of feral cows, wander this newly wild land watching over changing times, speaking with love and exasperation. Jesse and his puppy Mister Maliks roam the woods until his family are forced to leave for London. Lee runs from the terrible restrictions of the White Town where he grew up. Isolde leaves London on foot, walking the abandoned A12 in search of the truth about her mother.
Anna is dismayed by the indifference she sees in the news to people who die in distant wars. In order to redress this, she writes portraits of unknown victims. Grief, caused by the death of her daughter Caitlin, and brought into sharp relief by the release of Caitlin's killer from prison, has in turn, imprisoned Anna. it is only through this writing that Anna allows herself an emotional connection to the world. Meanwhile Caitlin tells her own story from the perplexing realms of death, finally reclaiming herself from the brutality of a coercive and violent relationship. Anna s unresolved rage build to a pitch, until an unexpected intercession changes everything, offering hope from the most unexpected quarter.
Years passed, after Gweneth knew the truth about the books she wrote that propelled her to popularity, which in turn, became a threat to the world’s existence. She may never recall her encounter with Lenneia. But her life through each page, brings her tears and fears of what future holds for all of them. This episode tells the story of Gweneth's life after the memories of Lenneia unfolds. Three books was made. One was unlocked and the other two are in different language than the other. The key to unlock the remaining books will rely on Gweneth, Roubin and the Ollidua Agency to hunt and retrieve. Their future and yours are at hand. What powers do Niqolai has and when will their enemies reveal itself? Where would you be when the greatest battle happens on earth.
Nineteenth-century scientist David Starr Jordan built one of the most important fish specimen collections ever seen, until the 1906 San Francisco earthquake shattered his life's work.
This book examines the proliferation of surrogacy storylines on TV, exploring themes of infertility, motherhood, parenting and family. It investigates how, despite reproductive technologies’ ability to flex contours of family, the shows’ narratives work to uphold the white, heterosexual, genetically-reproduced family as the ideal. In dialogue with responses from a range of female viewers, both mothers and non-mothers, the book scrutinises the construction of family ideology on television with studies including Coronation Street (1960-present), Giuliana & Bill (2009-2014), Rules of Engagement (2007-2013), The New Normal (2012-2013), Top of the Lake: China Girl (2017) The Handmaid’s Tale (2017-present) and film Baby Mama (2008). These studies raise a number of questions; is homosexuality only acceptable when it echoes heterosexual norms? Are female characters only fulfilled when they are genetic mothers? Does heterosexual romance override technology in the cure for infertility? While the answers to these questions may suggest that television still conforms to heteronormative narratives, this book importantly demonstrates that audiences desire alternative happy endings that show infertile female characters more positively and recognise alternative kinship formations as meaningful.
Anna is dismayed by the indifference she sees in the news to people who die in distant wars. In order to redress this, she writes portraits of unknown victims. Grief, caused by the death of her daughter Caitlin, and brought into sharp relief by the release of Caitlin's killer from prison, has in turn, imprisoned Anna. it is only through this writing that Anna allows herself an emotional connection to the world. Meanwhile Caitlin tells her own story from the perplexing realms of death, finally reclaiming herself from the brutality of a coercive and violent relationship. Anna s unresolved rage build to a pitch, until an unexpected intercession changes everything, offering hope from the most unexpected quarter.
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