'Such a raw, honest and important book' Giovanna Fletcher Like any new mum, Laura Dockrill felt rather overwhelmed after the birth of her son. But a slow recovery, sleep deprivation and anxiety quickly escalated into postpartum psychosis, and she had to spend a fortnight in a psych ward, separated from her family. It was only when Laura began to put her ordeal into words that she began to find herself again, and recovery seemed within reach. This is Laura's raw, honest and life-affirming story of how she made it through one of the most frightening experiences a mother can face. Now, she wants to break down the silence around postnatal mental health, shatter the idealised expectations of perfect motherhood, and show all new struggling parents that they are not alone. 'A book to save a whole generation of women' Adele A pleasure to read...I didn't want to put it down. If anyone is going through a similar experience it will make them feel less alone' Philippa Perry 'A humbingly honest and human war report from the front lines of mothering psychosis and recovery; there is no other book like it' Caitlin Moran 'An incredibly powerful book' Jessie Ware 'This book will give women and their families confidence that the brain and body will heal' Dr Jessica Heron, CEO of Action on Postpartum Psychosis 'An amazing read' Fiona Telford, postpartum psychosis survivor

“One of America’s most notorious murder cases inspires this feverish debut” novel that goes inside the mind of Lizzie Borden (The Guardian). On the morning of August 4, 1892, Lizzie Borden calls out to her maid: Someone’s killed Father. The brutal ax-murder of Andrew and Abby Borden in their home in Fall River, Massachusetts, leaves little evidence and many unanswered questions. In this riveting debut novel, Sarah Schmidt reimagines the day of the infamous murders as an intimate story of a family devoid of love. While neighbors struggle to understand why anyone would want to harm the respected Bordens, those close to the family have a different tale to tell―of a father with an explosive temper, a spiteful stepmother, and two spinster sisters desperate for their independence. As the police search for clues, Lizzie’s memories of that morning flash in scattered fragments. Had she been in the barn or the pear arbor to escape the stifling heat of the house? When did she last speak to her stepmother? Were they really gone and would everything be better now? Shifting among the perspectives of the unreliable Lizzie, her older sister Emma, the housemaid Bridget, and the enigmatic stranger Benjamin, the events of that fateful day are slowly revealed through a high-wire feat of storytelling.

This workbook is a practical guide to victim empathy work with young people who have offended, and can be used in an individual case-work setting or as a groupwork programme. It is designed to be flexible and adaptable for use with young people of differing ages, offences, backgrounds and abilities. It recognizes that young people who offend have often experienced victimization themselves, and brings this into a number of the exercises. The course is designed for use with any type of offending where it is possible to identify a person or people who were affected.

Eight tales by an innovative science-fiction writer of the early 1950s who introduced sophisticated psychological insights into stories of alien invasion, expanding technology, revolution against political theocracy, and space colonization.

A secret underground scientific facility, operated by global shadow governments, develops a creature capable of living and traveling in outer space. The purpose? To explore space for us and return to us with information on what they find. Unfortunately for us, the creatures learn to hate mankind, and they've just gotten loose. Now, small pockets of survivors must rebuild while learning to combat the most ferocious living thing ever known to man.

The Roman Catholic Good Friday liturgy includes a series of chants known today as the Improperia ("Reproaches") beginning with the following text: Popule meus, quid feci tibi? aut in quo contristavi te? responde mihi. Quia eduxi te de terra Egypti, parasti crucem Salvatori tuo ("My people, what have I done to you, or in what have I grieved you? Answer me. Because I led you out of the land of Egypt, you prepared a cross for your Savior"). The earliest witness to the chants is a Carolingian liturgical book from around 880, but it is agreed among scholars that their history extends back farther than this. Employing comparative analysis of Biblical exegesis, chant texts, and chant melodies, this study suggests that the initial chant verse, Micah 6:3-4a plus a Christianizing addendum ("My people... you prepared..."), originated in northwestern Italy between the end of the 4th century and the end of the 7th century and carried associations of the Last Judgment, the Passion, and Christian works, penitence, and forgiveness. Although previous scholarship has sometimes pointed to the Reproaches as a key text of Christian anti-Jewish history, it is clear that the initial three verses, the Popule meus verses, originally held allegorical rather than literal meanings. The fact that there are several preserved Popule meus chants across various liturgical repertoires and, moreover, several sets of Popule meus verses in a smaller subset of these repertoires--in northern Italy, southern France, and the Spanish March--bespeaks the pre-Carolingian origins of the Popule meus verses and raises the question of why the verses appear in the Carolingian liturgy when they do. This study proposes that the Popule meus verses were incorporated into the Carolingian liturgy at the Abbey of Saint-Denis under the abbacy of Charles the Bald (867-77). In the Adoration of the Cross ceremony adopted from Rome, paired with the Greek Trisagion, and carrying Gallican melody and meaning, the Carolingian Popule meus verses would have been an ecumenical declaration, as they spread, of the expediency of the crucified Christ and a penitent people, even in the face of impending political disintegration.