At seven levels, from Starter to Advanced, this impressive selection of carefully graded readers offers exciting reading for every student's capabilities. Hiro, a 20-year-old Japanese student, sits next to an old man on a train to Berlin. By mistake they exchange phones and read each other's text messages. Hiro believes that the man's messages show that he is going to Berlin to kill someone. Hiro's first day in the city is a race against time as he tries to warn people of an assassination plot. But is the plot real or does it exist only in Hiro's imagination? Paperback-only version. Also available as a pack with 2 Audio CDs with complete text recordings from the book.

    All roads lead to CzechiaThe Czechs seem to believe that the Earth is the center of the Universe, Europe is the centre of the Earth, and Czechia is at the centre of Europe. Reality CzechsThe ability to put up with a situation adjusting as needs must has been elevated to an art form. Chuckling CzechsCzech humor is distinguished by mad screams, breast and thigh slapping, and uncontrollable braying. Top of the Czech listThe Czechs would like to be seen as the cauldron in which all that's good from West and East melts; and if not the best, then at least one of the top nations in the world.

    Fortunately, he meets Nick Dietrich, the waterfront director, who helps him overcome his fears and eventually have enough confidence to pass his swimming test and learn to kayak. Jordan's first relationship with Nick is that of hero-worship. When Jordan helps Nick rescue two of Jordan's friends from the lake at night, Jordan's hero-worship turns into a deep friendship. Later, Nick takes Jordan on his first whitewater kayak trip in northern Wisconsin on the Wolf River. Jordan discovers that it's much harder to kayak on a moving river than on a lake and he is terrified of the rushing water. Early in the trip, Nick is seriously injured in an accident that Jordan thinks he caused. Since Nick can no longer paddle, Jordan must overcome his fears of the water and paddle by himself almost twenty miles to the take-out point to get help to rescue Nick. After Nick is rescued, Jordan must confront his guilt and somehow maintain his friendship with Nick.

    Professor Peddiwell reports that the three fundamentals taught to youngsters in the paleolithic curriculum were (1) fish-grabbing-with-the-bare-hands,(2) horse-clubbing,and (3) saber-tooth-tiger-scaring-with-fire. When fish became too agile to catch with the bare hands and horses and tigers disappeared,schools nevertheless went on teaching the old fundamentals for their cultural value. The eventual revolt of the progressive educators against traditional curriculum is described in one of the most entertaining passages in this amusing satire.

    Barbeau, in keeping with the popular thinking of the time, believed First Nations cultures were about to disappear completely, and that it was up to him to preserve what was left of these dying cultures while he could. Unfortunately, his methods of preserving First Nations cultures included purchasing totem poles and potlatch items from struggling communities in order to sell them to museums. While Barbeau strove to protect First Nations cultures from vanishing, he ended up playing an active role in dismantling the very same cultures he tried to save.Drawing inspiration from Barbeau’s canonical book Totem Poles, Jordan Abel explores the complicated relationship between First Nations cultures and ethnography. His poems simultaneously illuminate Barbeau’s intentions and navigate the repercussions of the anthropologist’s actions.Through the use of erasure techniques, Abel carves out new understandings of Barbeau’s writing – each layer reveals a fresh perspective, each word takes on a different connotation, each letter plays a different role, and each punctuation mark rises to the surface in an unexpected way. As Abel writes his way ever deeper into Barbeau’s words, he begins to understand that he is much more connected to Barbeau than he originally suspected.

    One of his best-loved and most famous plays, it exposes the lies plaguing the family of a wealthy Southern planter of humble origins.

    Along the way, you'll explore topics like changing gender roles, sexuality, self-esteem, aggression, personality, and mate selection. It all adds up to a text that will leave you with a deeper, more complex understanding of the nature of culture, its relationship to psychological processes, and the differences and similarities between cultures in our increasingly globalized world.

    SmithThe poems in Scriptorium are primarily concerned with questions of religious authority. The medieval scriptorium, the central image of the collection, stands for that authority but also for its subversion; it is both a place where religious ideas are codified in writing and a place where an individual scribe might, with a sly movement of the pen, express unorthodox religious thoughts and experiences. In addition to exploring the ways language is used, or abused, to claim religious authority, Scriptorium also addresses the authority of the vernacular in various time periods and places, particularly in the Appalachian slang of the author's East Tennessee upbringing. Throughout Scriptorium, the historical mingles with the personal: poems about medieval art, theology, and verse share space with poems that chronicle personal struggles with faith and doubt.

    The spirituality of Jesus, its relevance today, and how these lessons might promote a greater communion with God.

    The divide between the global economy’s winners and losers in today’s France has replaced the old left‑right split, leaving many on “the periphery.”As Guilluy shows, there is no unified French economy, and those cut off from the country’s new economic citadels suffer disproportionately on both economic and social fronts. In Guilluy’s analysis, the lip service paid to the idea of an “open society” in France is a smoke screen meant to hide the emergence of a closed society, walled off for the benefit of the upper classes. The ruling classes in France are reaching a dangerous stage, he argues; without the stability of a growing economy, the hope for those excluded from growth is extinguished, undermining the legitimacy of a multicultural nation.

    "Alabanza" means "praise" in Spanish, and Espada praises the people Whitman called "them the others are down upon": the African slaves who brought their music to Puerto Rico; a prison inmate provoking brawls so he could write poetry in solitary confinement; a janitor and his solitary strike; Espada's own father, who was jailed in Mississippi for refusing to go to the back of the bus. The poet bears witness to death and rebirth at the ruins of a famine village in Ireland, a town plaza in México welcoming a march of Zapatista rebels, and the courtroom where he worked as a tenant lawyer. The title poem pays homage to the immigrant food-service workers who lost their lives in the attack on the World Trade Center. From the earliest out-of-print work to the seventeen new poems included here, Espada celebrates the American political imagination and the resilience of human dignity. Alabanza is the epic vision of a writer who, in the words of Russell Banks, "is one of the handful of American poets who are forging a new American language, one that tells the unwritten history of the continent, speaks truth to power, and sings songs of selves we can no longer silence." An American Library Association Notable Book of 2003 and a 2003 New York Public Library Book to Remember."To read this work is to be struck breathless, and surely, to come away changed."—Barbara Kingsolver "Martín Espada is the Pablo Neruda of North American authors. If it was up to me, I'd select him as the Poet Laureate of the United States."—Sandra Cisneros "With these new and selected poems, you can grasp how powerful a poet Espada is—his range, his compassion, his astonishing images, his sense of history, his knowledge of the lives on the underbelly of cities, his bright anger, his tenderness, his humor. "—Marge Piercy "Espada's poems are not just clarion calls to the heart and conscience, but also wonderfully crafted gems."—Julia Alvarez "A passionate, readable poetry that makes [Espada] arguably the most important 'minority' U.S. poet since Langston Hughes."—Booklist"Neruda is dead, but if Alabanza is any clue, his ghost lives through a poet named Martín Espada."—San Francisco Chronicle

    The play was first performed in Lagos in 2003 under the distinguished director Chuck Mike, and subsequently toured the UK.

    Tennessee schoolteacher John Scopes brought the question of teaching evolution in schools to every dinner table, and it remains an essential topic in any course on American History, the History of Education, and Religious History. This volume’s lively interpretative introduction provides an analysis of the trial and its impact on the moral fiber of the country and the educational system, and examines the race and gender issues that shook out of the debate. The editor has excerpted the crucial exchanges from the trial transcript itself, and includes these along with reactions to the trial, taken from newspaper reports, letters, and magazine articles. Telling political cartoons and evocative photographs add a colorful dimension to this collection, while a chronology of events, questions for consideration, and a bibliography provide strong pedagogical support.

    The guides try to explain why things are done the way they are,and they try to allay the feelings of trepidation with which the xenophobe approaches new territory. This particular book looks at the Belgians.

    The fire brigade have been doing their best, as have the other emergency services, but whoever is behind the fires has been systematically running them ragged. Whitehall is worried. Something doesn’t add up, so they’ve dispatched a warlock – a former illegal mage, pressed into service of the government to deal with matters of the arcane – to look things over. Jameson Parker is that warlock, and he’s pretty okay with that. His freedoms might be heavily restricted, and any unauthorised use of magic means he’ll be struck down dead instantly, but it could be worse. He gets more or less free rein to swan around Humberside like the big I am, and it gives him a way to atone for his less than stellar past. He’s better off without magic, and he knows it. But is magic better off without him? The warlocks of Humberside don’t seem to think so, and there are rumblings that, as well as the fires, something big is about to go down. Jameson is not best pleased.