Life isn't going so well for 19-year-old Will. His mother is always nagging him about the lucky knit hat that he never takes off; his mother's boyfriend has forbidden Will to play "Wild Thing"--the only song he knows--on the guitar; and he just got fired from his job at Burger King. But Will's luck changes when he moves into a flat with Chrissy, James, and Rocko and gets a new job at the local park. At the park Will meets Zara, a gypsy girl whose family is camping there illegally. Will has never been happier. Until his mother threatens to ruin everything by revealing Will's childhood secret. Is Will and Zara's love for each other strong enough to survive? "From the Hardcover edition."

Ruby McCracken's life is OVER. Her parents have forced her to move to the Ordinary World and that means -- new home, new school and worst of all, no magic! Seriously?! A witch without magic? That's LITERALLY tragic. Ruby has to leave behind her broomstick (and walk everywhere -- YUCK!) and her friends (no more watching Hex Factor together on a Saturday night). She's absolutely STARVING with no snack spell, and there's no way to get revenge on the mean girls at her boring new school without a good curse. Despite her best witching efforts, the Ordinary World remains tragically magic-deprived, until Ruby receives a mysterious hext that seems to offer an answer. That is, if she can figure out what it means and, more importantly, who sent it. Packed with great humour, loveable characters and witty banter, Ruby McCracken: Tragic Without Magic is perfect for fans of Witchworld and The Worst Witch.

America's independent films often seem to defy classification. Their strategies of storytelling and representation range from raw, no-budget projects to more polished releases of Hollywood's "specialty" divisions. Yet understanding American indies involves more than just considering films. Filmmakers, distributors, exhibitors, festivals, critics, and audiences all shape the art's identity, which is always understood in relation to the Hollywood mainstream. By locating the American indie film in the historical context of the "Sundance-Miramax" era (the mid-1980s to the end of the 2000s), Michael Z. Newman considers indie cinema as an alternative American film culture. His work isolates patterns of character and realism, formal play, and oppositionality and the functions of the festivals, art houses, and critical media promoting them. He also accounts for the power of audiences to identify indie films in distinction to mainstream Hollywood and to seek socially emblematic characters and playful form in their narratives. Analyzing films such as Welcome to the Dollhouse (1996), Lost in Translation (2003), Pulp Fiction (1994), and Juno (2007), along with the work of Nicole Holofcener, Jim Jarmusch, John Sayles, Steven Soderbergh, and the Coen brothers, Newman investigates the conventions that cast indies as culturally legitimate works of art. He binds these diverse works together within a cluster of distinct viewing strategies and invites a reevaluation of the difference of independent cinema and its relationship to class and taste culture.

This is a standard reference for anyone who is interested in the history of essential fashion accessory – the hat. The hats always were used to protect, to express identity, to express identity, and to attract or to influence others. Main developments in the timeline of hats from ancient past to modern present, including the phenomenon of the must-have accessory covering the top of the head.

Reprint of the original, first published in 1872.

Get lost with five classic tales of castaways. Classic Cast-Away Stories includes Daniel Defoe’s The Life and Adventures of Robinson Crusoe and The Farther Adventures of Robinson Crusoe, The English Hermit by Peter Longueville, The Narrative of Arthur Gordon Pym of Nantucket by Edgar Allan Poe, and Johann Wyss’s The Swiss Family Robinson. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.

Rueben would be the first to admit he was stubborn. He hated being told something wasn't possible when there was no scientific basis for their claims. So, when his peers told him searching for fossils in China wouldn’t be a worthwhile endeavour, instead of quitting Rueben doubled down his efforts to raise the necessary funds to travel there. But his arrival in Shanghai started with embarrassment and left Rueben fearing his distracted clumsiness had scared away his translator and guide, Yuan Xi, before they’d even left for their destination: the Taihang Mountains in Shanxi Province. Yet Rueben hadn’t imagined the most important discovery he'd make in those mountains would be about himself. An overwhelming and confusing discovery that had Rueben wanting to run... had him never wanting to leave Yuan's side. Yuan Xi prided himself on being a sought-after translator, capable of hiding his anger despite the way his European employers treated him and his countrymen. Knew how to keep a smile on his face while being treated like a servant; remaining invisible until needed. But this latest job could be hazardous to his health, and Yuan didn’t mean physically. The endearingly clumsy scientist employing Yuan made him question whether he wanted more than emotionless, casual relationships... and whether taking a risk with his heart might be worth it.