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Spending the summer in Scotland after her bland American professor husband receives a grant to study Loch Ness, Perdita Miggs is astonished when their guide turns out to be her long-lost first love, an attractive local poet.
Once upon a time, on a long, slow trip to Scotland, a little girl named Katerina-Elizabeth tossed her oatmeal overboard—again, and again, and again. She was a picky eater, and oatmeal was her least favorite food. And once upon a time, a small worm, no bigger than a piece of thread, swam alongside an ocean liner bound for Scotland and ate bowl after bowl of tossed oatmeal. He had never tasted anything as wonderful as oatmeal in his whole life. A. W. Flaherty and Scott Magoon unravel the Loch Ness legend in this whimsical picture book for the picky (and not-so-picky) eater in all of us.
Bookseller Delaney Nichols befriends a Loch Ness monster enthusiast; when he stands accused of murder she'll do whatever it takes to learn who the killer is—and whether Nessie herself is really lurking in the Scottish waters. Delaney Nichols is delighted with her life in Edinburgh, working at The Cracked Spine—a shop that specializes in hard-to-find books and artifacts. With a job she loves, and her fast approaching marriage to devastatingly handsome Scottish pub-owner Tom Shannon, Delaney's life could be straight out of a fairy tale—at least it would be, if the pastor meant to perform the wedding ceremony hadn't recently passed away. Outside the church where Delaney is searching for another reverend, she stumbles across Norval Fraser: an elderly man obsessed with the Loch Ness monster. Always attracted to the interesting and unusual, Delaney befriends Norval. But when his nephew is found dead, the police decide Norval's obsession has moved from monsters to murder. With a wedding to plan, her family arriving soon from Kansas, and the arrival of an over-the-top Texan with a wildly valuable book, Delaney's plate is full to bursting, but she can't abandon her new friend. Determined to help Norval, she sets out to learn the truth. The Loch Ness buries its secrets deeply, but Delaney is determined to dig them up—whether Nessie likes it or not. Set in Edinburgh, Scotland, The Loch Ness Papers is the fourth in the Scottish Bookshop series by Paige Shelton.
Holding in balance the ecological and the technological, ancient and modern, Full Volume sings languages and cultures, people and habitats burgeoning on the brink of extinction. From revved-up battle-cry to nervous whisper, these lyrical poems praise intricate abundance. Assured in its rhymes and cadences, Full Volume is often attentive to poetry in other tongues, not least Gaelic. As their tones and forms shift from the spiritual to the wry, from haiku to brosnachadh, the poems' resonance and music build into a sustained sounding of what it means to live, love, and listen in a world where 'Nothing is ever single'.
An A-Z of poetry, this book is a glossary for writers filled with information, examples and exercises to enhance the poet's skills.
From a bear in underwear to a real-life dragon, this charming collection of poems features many members of the animal kingdom. Endearing illustrations accompany each poem, bringing furry, scaly, slimy, and feathery friends to life. With poems from Robert Scotellaro, Kate Snow, Coral Rumble, and many others, this book introduces readers to poetic devices such as rhyme, rhythm, and repetition. Simple similes and silly onomatopoeia make learning these literary techniques fun. Readers will see that poetry can take many forms, from couplets to free verse. These humorous selections are sure to get even reluctant readers giggling. Perfect for any Language Arts curriculum, this lighthearted book is sure to be a favorite read.
Practitioner Research in Voice Studies aims to support the artist-scholar who wishes to design and publish research in voice. The book is useful for the novice, who wants tangible tools to begin, and for the more experienced researcher, who wants varying perspectives on how voice scholarship has evolved. The book contains three sections: • Conducting Practitioner Research in Voice Studies • Getting Started • Practitioner Research Examples. The first two sections outline major themes, debates, and research approaches in the field, and many chapters offer step-by-step guides and tips. The final section presents example research articles that highlight numerous methods including qualitative, quantitative, mixed-method, action research, performance as research, practice as research, literature review, narrative review, and other kinds of multidisciplinary practices. This ambitious project includes leading international figures who write in a scholarly and accessible manner. Utilizing research ideas and examples from a variety of voice disciplines, this book will be of interest to those studying voice, speech, singing, acting, public speaking, voice science, communication, music, theatre, and performance. Those writing a dissertation or thesis may also draw from this text. Articles from this book were originally published in the Voice and Speech Review journal.
Christopher Grieve, writing under the name of Hugh MacDiarmid, was a major modern poet and founder of the Scottish literary Renaissance. In this study of his poetry, John Baglow eliminates what has been a stumbling block for most MacDiarmid scholars by showing the very real thematic and psycological consistency which underlines MacDiarmid's work. He demonstrates the extent to which the work was dominated by a desire to find a faith that could justify his desire to write poetry, a desire continually thwarted by a critical intellect which destroyed whatever faith he was able to construct. This constant search without a successful conclusion is at the heart of the work of many major modernist writers; MacDiarmid's poetry can be seen as embracing this tradition and making it explicit.
Nessie, the Loch Ness Monster, is tired of being t old that she doesn't exist. In this crackling, lolloping story in verse, Ted Hughes describes how she sets out on the road the London for an audience with the Queen . . .