The Clock That Didn’t Tock By: Karen Wu Grandpa has a special clock, That only ticks and doesn’t tock. …but that’s okay! Sometimes the things that make us different are the things that make us special. The Clock That Didn’t Tock is a story for children of all ages. Originally a story Karen Wu told her own children, a valuable lesson lies within: it is what’s inside that counts, not our outward appearances.

A highly imaginative fantasy book for children and young adults. Written in the authors’ unmistakable style, the book transports readers to a different world.The narrative surrounds the theme of time and follows people who live inside a clock. The Clock People is a wondrous work of mechanical engineering and imagineering that runs both like clockwork and anti-clockwork! The story follows the lives of people who live and work inside an antique golden fob watch to the sound of clicking, ticking, tocking, whirling and whirring. The Clock People lost their home, downsizing to another property in Clock Town. But this is just half of the story, the other half is lost in time, waiting to be discovered... The Clock People is Mark Roland Langdale’s fifth Matador children’s book, and will appeal to science fiction and fantasy lovers along with fans of his former books. “What is time? Scientists who believe in quantum wonder tales would have you believe it does not exist, that it is simply an illusion a clever conjuring trick and nothing more...”

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What do boy bands from the 1990s have in common with the Beatles? Why are some pop artists, such as Justin Timberlake, considered controversial? Readers will discover these answers and the stories behind beloved artists from the Beach Boys to Lady Gaga through fun and fact-filled text about the roots of pop music and how it has spread around the world. Readers will gain a deeper appreciation for their favorite artists and the pop stars who came before them as they explore a discography of important albums, full-color photographs, annotated quotes from artists and journalists, and fascinating sidebars.

A classic locked room mystery from the genre’s Golden Age by the renowned Australian author of the Chief Inspector Luckraft series. On the day of his wife’s funeral, Robert Turold reveals that he has completed his lifelong quest to prove his family’s noble blood and restore its barony title. His brother and nephew will be his heirs, skipping over his daughter who he believes is illegitimate due to a deathbed confession from his wife. With the granting of a peerage within his reach, Robert has no qualms involving the neglected girl in public scandal—a turn of events that has left the surviving members of his family reeling. High on the Cornish cliffs, Robert’s isolated and imposing Flint House proves the perfect backdrop for a mysterious crime, when he’s found shot in a locked room. While first impressions point to suicide, Robert’s sister is convinced he was murdered. Arriving from Scotland Yard, Detective Barrant suspects Robert’s now-missing daughter, who has fled to London. Mired in past secrets and sins, the case seems to go nowhere and everywhere at once. But the threads of obsession, greed, and revenge will lead to a devious killer, who is soon to be trapped in a web of their own design.

Examining one of the earliest films made specifically for young audiences in US cinema, Rock around the Clock (1956), this book explores the exploitation production company that made the film and the ways it represented young people, especially in terms of their association with rock ’n’ roll music and culture. Providing new avenues of approaching the film, the book looks at how Rock around the Clock has attracted significant scholarly attention, despite its origins as a low-budget production made by master exploitation filmmaker Sam Katzman. It challenges accounts that see the film’s young people as juvenile delinquents, using instead the label ‘cultural rebels’ as a signifier of youth’s ability to resurrect a moribund music industry and rejuvenate a stale youth culture. This book also questions the nature of the label ‘exploitation’ as applied to the film by examining Columbia Pictures’ role as a resource provider for Katzman’s film, comparing Rock around the Clock to contemporaneous films with a youth focus that were produced in different industrial contexts and investigating its relationship to adaptation by asking whether the film is an example of a ‘postliterary’ adaptation. Rich on archival research and industrial and textual analysis, Rock around the Clock will interest both film studies and youth cultures scholars.