Little Mouse is befriended by a stone carver at a cathedral.

A lonely mouse living in a church with only a friendly, sleepy cat for company, devises a plan to get all the mice in town to move in with him.

Cathedrals are awe-inspiring buildings. Most are grand medieval structures, while others appear simple and unpretentious – yet all were designed to reflect the glory of God and have a profound impact on us. As trailblazers of architectural development, each cathedral has distinct individual features – such as the powerful Norman Romanesque west towers of Durham, the unique octagonal tower at Ely, and the daring late Gothic finery and spaciousness at Gloucester. In this lavishly illustrated guide to cathedrals from Bangor to York, with profiles of Roman Catholic and Scottish cathedrals, David Pepin outlines the evolution of architectural style, each building's key features, and the ongoing story of daily worship, wide-ranging ministry, conservation, the new work of craftspeople, and the increasing numbers of pilgrims and visitors.

In an ancient cathedral in France, the Tooth Mouse decides it is time to choose her successor.

She’s spent the last seven hundred years hiding in plain sight. But Mouse's past is about to catch up with her. The Devil’s Bible. Once considered an eighth wonder of the world, the ancient book is shrouded in mystery. No one knows who wrote it or where it was written. Even dry-boned scholars whisper about the secrets hidden in the book: How it calls to the power-hungry. How it drives people mad. How it was written in the shadows by the hand of the devil himself. But no one knows the truth—no one except Mouse. She’s been running from the truth at the heart of the Devil’s Bible for so long that no one even knows her name anymore. She calls herself Emma Nicholas—a normal name for a normal college professor living a normal life. But all of it is a lie, and, when forces emerge that threaten to expose her, Mouse has no choice but to take flight once more. Desperate and on the run, Mouse unexpectedly finds hope in a stranger’s kindness. But it will take more than hope to win this game of souls—a battle between good and evil set in motion long ago at the birth of the Devil’s Bible.

DigiCat Publishing presents to you this special edition of "Further Fables for Our Time" by James Thurber. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

John Betjeman was undoubtedly the most popular Poet Laureate since Tennyson. But beneath the thoroughly modern window on Britain that he opened during his lifetime lay the influence of his nineteenth-century forbears. This book explores his identity through such Victorianism via the verse of that period, but also its architecture, religious faith and -- more importantly -- religious doubt. It was, nevertheless, a process which took time. In the 1930s Betjeman's work was tinted with modernism and traditionalism. He found Victorian buildings 'funny' and wrote much in praise of the Bauhaus style, even though his early poetry was peppered with Victorian references. This leaning was incorporated into a greater sense of purpose during World War 2, when he transformed himself from precious humorist into propagandist. The resulting sense of cohesion grew when the dangers of post-war urban redevelopment heightened the need to critique the present via the poetics of the past, a mood which continued up to and beyond his gaining the Laureateship in 1972. This duty proved to be a millstone, so the 'official' poems are thus explored by the author more fully than hitherto. The conclusion of looks back to Betjeman's 1960 verse-autobiography, 'Summoned by Bells', which is seen as the apogee of his achievement and a snapshot of his identity. Included here is the first critical appreciation of the lyrics embodied within the text, which are taken as a map of the young poet's literary growth. Larkin's 1959 question 'What exactly is Betjeman?' then leads to a final appraisal of his originality, as evidenced by his glances towards postmodernism, feminism, and post-colonialism. The fact is that Betjeman never quite fits in anywhere. He is always a square peg in a round hole or a round peg in a square hole -- often for the sheer enjoyment of so being. In a sense, his desire to be as non-conformist as a Quaker meeting house makes him a radical, rather than the reactionary that his interests imply. He was a champion of beauty and the British Isles, and clearly did much to make us see the worth of our Victorian forebears. Greg Morse's book highlights this important facet of his work.