Little Woodford has a sleepy high street, a weekly market, a weathered old stone church and lovingly tended allotments. A peaceful, unexciting place, the very heart of middle England. In Little Woodford no one has fingers in more pies than Olivia Laithwaite, parish councillor, chair of the local WI, wife, mother and all round queen bee. So of course it's Olivia who is first to spot that The Beeches has been sold at last. Soon rumours begin to swirl around the young widow who has bought this lovely house. Why exactly did she leave London with her beautiful stepdaughter and young sons? Are they running from someone? Hiding something? Though if they are, they won't be the only ones. Sometimes the arrival of newcomers in a community is all it takes to light a fuse... A new village drama full of life, love... and secrets. Previously published as Little Woodford.

Gordon and Maxine's dreams of a blissful life of gardening, pub lunches and quiet retirement in the charming market town of Little Woodford are ruined when three very demanding members of their family come home. First up is daughter Abi and her unassuming partner Marcus. Abi is determined to move back to Little Woodford and only the perfect house will do. What could be better than parking with Mum and Dad, while she drives local estate agents and builders mad? Then comes Judith, Maxine's high-flying sister. A crisis has driven her, sobbing, to Little Woodford. Surely Gordon and Maxine have room for her to stay while she sorts things out? Lastly, the mother-in-law from hell, Anthea, has a fall in her rambling old house. After a spell in hospital, it looks as if there is only one place she can go... Never mind bliss, there is no peace to be had! Can Gordon and Maxine find a way to restore harmony in their home?

'Delicious... A cracking story. I absolutely loved it' Emma Lee-Potter. The market town of Little Woodford seems peaceful and beautiful, with its thriving high street, ancient church and immaculate allotments. But behind this facade, troubles are brewing. Olivia Laithwaite has come down in the world, thanks to her gambling husband. She hates the modern shoebox they've moved into and knows she must now humble herself to apply for a local job. Miranda Osborne has arrived with a flourish in Little Woodford and bought Olivia's beloved Grange. Now she starts to throw her weight around – objecting to everything, from the church bells to the local market stalls. It isn't long before the town is in turmoil. The second in Catherine Jones's wonderful series about the goings-on behind the facade of the market town of Little Woodford. Previously published as The Bells of Little Woodford.

Summer is approaching in the market town of Little Woodford, which can only mean one thing: the town fete! But the winds of change are blowing through the sleepy town high street and trouble is on the horizon... Two hot properties have come up for sale: The Talbot, Little Woodford's much-loved local pub and The Reeve House, a beautiful country manor cut off from the rest of the town and closed to the community. A 'for sale' sign means new members of the community, and gossip begins to fly about an offer on the Reeve House... who could be the new millionaire in their midst? Meanwhile, Heather, Jacqui and Miranda are desperately trying to organise the fete as an opportunity to bring the town together. But devastation strikes when a newcomer threatens to derail the whole operation. The fourth novel in the fantastic Little Woodford series; full of drama, secrets and community spirit, you'll love this foray into small town living!

More than fifty specialists have contributed to this new edition of volume 2 of The Cambridge Bibliography of English Literature. The design of the original work has established itself so firmly as a workable solution to the immense problems of analysis, articulation and coordination that it has been retained in all its essentials for the new edition. The task of the new contributors has been to revise and integrate the lists of 1940 and 1957, to add materials of the following decade, to correct and refine the bibliographical details already available, and to re-shape the whole according to a new series of conventions devised to give greater clarity and consistency to the entries.

Japan in the Heisei Era (1989–2019) provides a retrospective and multidisciplinary account of a society in flux. Featuring analyses from leading scholars around the globe, this textbook examines the evolving contexts of Japan throughout the Heisei era and how longstanding verities and values have been called into question. Asking what this holds for Japan’s future relations with the world and within its own communities, chapters delve beneath the layers of a complex and increasingly diverse society, exploring topics including simmering ethnonationalism, economic torpor, political stagnation, and cultural dynamics. Features of this textbook include: Analysis of key social issues ranging from immigration, civil society, press freedom, politics, labour and the economy, to diversity, the marginalisation of women, Shinto, and Aum Shinrikyo Evaluation of the legacy of Emperor Akihito on war memory, the imperial institution, art, regional relations, and constitutional revision Multidisciplinary insights from both the social sciences and humanities Rich illustrations for visual analysis of developments in contemporary Japanese literature, film, art, and pop culture Providing students with dynamic analyses of how contemporary Japanese society continues to transform, this textbook is essential reading for students of Japanese Studies, including Japanese culture, society, history, and politics. The Introduction and Chapter 19 of this book are freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Twenty-two leading experts on early modern drama collaborate in this volume to explore three closely interconnected research questions. To what extent did playwrights represent dramatis personae in their entertainments as forming, or failing to form, communal groupings? How far were theatrical productions likely to weld, or separate, different communal groupings within their target audiences? And how might such bondings or oppositions among spectators have tallied with the community-making or -breaking on stage? Chapters in Part One respond to one or more of these questions by reassessing general period trends in censorship, theatre attendance, forms of patronage, playwrights’ professional and linguistic networks, their use of music, and their handling of ethical controversies. In Part Two, responses arise from detailed re-examinations of particular plays by Shakespeare, Chapman, Jonson, Beaumont and Fletcher, Cary, Webster, Middleton, Massinger, Ford, and Shirley. Both Parts cover a full range of early-Stuart theatre settings, from the public and popular to the more private circumstances of hall playhouses, court masques, women’s drama, country-house theatricals, and school plays. And one overall finding is that, although playwrights frequently staged or alluded to communal conflict, they seldom exacerbated such divisiveness within their audience. Rather, they tended toward more tactful modes of address (sometimes even acknowledging their own ideological uncertainties) so that, at least for the duration of a play, their audiences could be a community within which internal rifts were openly brought into dialogue.