The Lost Girl From Far Away

The heartbreaking new novel from the author of An Orphan's Wish. Having recently arrived in England, abandoned by her father and brother, Isabella is left to look after her dying mother in an abandoned house. When the worst happens, she suddenly finds herself alone in a strange country, forced to seek out help from strangers in the nearby town. Sarah doesn't know what to do with the poor little girl she's found, orphaned and afraid, except bring her back to Hilda House where they can stay together. But when she discovers the girl's connection to Wolsingham, Sarah knows she'll do whatever it takes to keep Isabella safe from the tragedy of her family's past. As the lives of the townspeople become increasingly entwined, will they find a way to come together? Or will they fall apart under the past that haunts them all?

Generations of children and teens have grown up on R.L. Stine's bestselling and hugely popular horror series, Fear Street and Goosebumps. Now, the Fear Street series is back with a chilling new installment, packed with pure nightmare fodder that will scare Stine's avid fan base of teen readers and adults. New student Lizzy Palmer is the talk of Shadyside High. Michael and his girlfriend Pepper befriend her, but the closer they get to her, the stranger she seems... and the more attractive she is to Michael. He invites her to join him on a snowmobile race that ends in a tragic accident. Soon, Michael's friends start being murdered, and Pepper becomes convinced that Lizzy is behind the killings. But to her total shock, she and Michael are drawn into a tragic story of an unthinkable betrayal committed over 60 years ago. Frightening and tense in the way that only this master of horror can deliver, The Lost Girl is another terrifying Fear Street novel by the king of juvenile horror. “A nostalgia trip for the original fans of Fear Street.” - Kirkus Reviews

Having recently arrived in England, abandoned by her father and brother, Isabella is left to look after her dying mother in an abandoned house. When the worst happens, she suddenly finds herself alone in a strange country, forced to seek out help from strangers in the nearby town.Sarah doesn't know what to do with the poor little girl she's found, orphaned and afraid, except bring her back to Hilda House where they can stay together. But when she discovers the girl's connection to Wolsingham, Sarah knows she'll do whatever it takes to keep Isabella safe from the tragedy of her family's past.As the lives of the townspeople become increasingly entwined, will they find a way to come together? Or will they fall apart under the past that haunts them all?

1875 With their father missing and their mother suddenly passing, Esme and Gabriel are forced to track down their estranged grandfather in Lincolnshire. Cold and unwelcoming, he is reluctant to take them in, but aware of his standing as the village vicar, he knows must protect his reputation, and allow the children to stay with him. Esme's relief at finding refuge soon turns to despair when Gabriel is sent to boarding school, leaving her alone in their grandfather's unhappy home. But the house isn't as empty as it first appeared and Esme, with her unusual gift of being able to see spirits, begins to encounter the ghosts of young women in the abandoned rooms and dark corridors of the rectory. The women are trapped between this world and the next, seeking help from Esme and leaving her with a mystery to solve if she is to stand a chance of establishing a peaceful, happy life. Can Esme lay the ghosts to rest to save herself and find the life she deserves?

Eva's life is not her own. She is a creation, an abomination – an echo. Made by the Weavers as a copy of someone else, she is expected to replace a girl named Amarra, her 'other', if she ever died. Eva studies what Amarra does, what she eats, what it's like to kiss her boyfriend, Ray. So when Amarra is killed in a car crash, Eva should be ready. But fifteen years of studying never prepared her for this. Now she must abandon everything she's ever known – the guardians who raised her, the boy she's forbidden to love – to move to India and convince the world that Amarra is still alive . . .

In The Lost Girl, James Morrison finds a compelling lens through the eyes of a young person trying to understand the world and her place in it. In stylized prose both elegant and spare, saturated with irony but fraught with tenderness, Morrison raises questions about modern life that become more pressing by the day.

This edition of The Lost Girl offers a text corresponding to Lawrence's expectations.

Precisely, perhaps, because they are so immediately absorbing, narrative films can also be profoundly confusing and disorienting. This fascinating book neither proposes foolproof methods for avoiding confusion; nor does it suggest that disorientation is always a virtue. Instead it argues that the best way to come to terms with our confusion is to look closely at exactly what is confusing us, and why. At the heart of the book are original close readings of four important recent films: David Lynch's INLAND EMPIRE (2006), Leos Carax's Holy Motors (2012), Pedro Costa's Colossal Youth (2006) and Jean-Luc Godard's Goodbye to Language (2014). Clearly written but critically and theoretically bold, The Cinema of Disorientation: Inviting Confusions explores both how we get (or fail to get) our bearings with respect to a film, and what we might discover by (and while) doing so.