The first book in the brilliant Hermux Tantamoq adventures, is a thrilling and brilliantly conceived mystery. Has the beautiful aviatrix mouse Linka Perflinger been kidnapped? If so, by whom? Is the eccentric cosmetics tycoon Tucka Mertslin involved? What is the sinister Dr Hiril Mennus plotting? Can Hermux save the day and still find true love? And what dastardly experiments are being performed in the laboratories of the Last Resort health spa?Hermux finds himself caught in a deadly race against time. And he realises only too late . . .
Watchmaker-mouse Hermux Tantamoq enters the exciting and somewhat shady world of show business to investigate a mysterious blackmailer at the Varmint Theater.
This second book, The Sands of Time, continues the adventures of Hermux Tantamoq, mouse and watchmaker in the imaginary city of Pinchester. "Galloping plot, evocative descriptions and exuberantly sophisticated wit keep the pages rapidly turning."--Publisher's Weekly When the museum announces a show of Mirrin Stentrill’s latest paintings—monumental, visionary portraits of cats—Mayor Hooster Pinkwiggin vows to shut it down. Cats are a touchy subject amoung Pinchester’s mostly small-rodent population. Complications arise when a mysterious chipmunk named Birch Tentintrotter claims to have a map to the royal library of an ancient kingdom of cats. When Birch recruits Hermux to help him find the library, they discover they’re not the only ones looking for it.
Watchmaker-mouse Hermux Tantamoq enters the exciting and somewhat shady world of show business to investigate a mysterious blackmailer at the Varmint Theater.
Despite fierce opposition from mouse supremacists and other residents of Pinchester, three mice team up with an old chipmunk to prove that there existed, long before the time of mice, a Cat Kingdom.
A Pinchester, la ville des rongeurs de tout poil, on ne croit pas à l'existence des chats, ces animaux monstrueux. Pourtant Hermux Tantamoq apprend qu'une grande pyramide des chats se trouve quelque part dans les sables du désert. Il propose à l'aviatrice Linka Perflinker de partir à sa recherche. Trouveront-il ce lieu extraordinaire ? Et Hermux saura-t-il profiter de ce périple mouvementé pour conquérir le cœur de l'intrépide aventurière ?
This second book, The Sands of Time, continues the adventures of Hermux Tantamoq, mouse and watchmaker in the imaginary city of Pinchester. "Galloping plot, evocative descriptions and exuberantly sophisticated wit keep the pages rapidly turning."--Publisher's Weekly When the museum announces a show of Mirrin Stentrill’s latest paintings—monumental, visionary portraits of cats—Mayor Hooster Pinkwiggin vows to shut it down. Cats are a touchy subject amoung Pinchester’s mostly small-rodent population. Complications arise when a mysterious chipmunk named Birch Tentintrotter claims to have a map to the royal library of an ancient kingdom of cats. When Birch recruits Hermux to help him find the library, they discover they’re not the only ones looking for it.
The first book-length study of the fifteen surviving Little Gidding bible concordances, this book examines the visual culture of print in seventeenth-century England through the lens of one extraordinary family and their hand-made biblical manuscripts. The volumes were created by the women of the Ferrar-Collet family of Little Gidding, who selected works from the family's collection of Catholic religious prints, and then cut and pasted prints and print fragments, along with verses excised from the bible, and composed them in artful arrangements on the page in the manner of collage. Gaudio shows that by cutting, recombining, and pasting multi-scaled print fragments, the Ferrar-Collet family put into practice a remarkably flexible pictorial language. The Little Gidding concordances provide an occasion to explore how the manipulation of print could be a means of thinking through some of the most pressing religious and political questions of the pre-civil war period: the coherence of printed scripture, the nature of sovereignty, the relevance of the Mosaic law, and the protestant reform of images. By foregrounding the Ferrar-Collets' engagement with the print fragment, this book extends the scope of early modern print history beyond the printmaker's studio and expands our understanding of the ways an early modern Protestant community could productively engage with the religious image. Contrary to the long-held view that the English Reformation led to a decline in the importance of the religious image, this study demonstrates the ongoing vitality of religious prints in early modern England as instruments for thinking.
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