Helen Cooper

'The unrelenting tension of this well-crafted debut kept me whizzing through the book . . . I loved the tension, the secrets and the satisfying, unexpected conclusion' KL Slater In a converted Georgian townhouse in south west London, three families live under one roof. The large flat that takes up the top two floors is home to the Harlow family: happily married Paul and Steph, and their bubbly teenage daughter Freya. The smaller first floor flat is rented by Emma, who spends most of her time alone, listening to people coming in and out of the building. And the basement flat belongs to Chris, a local driving instructor, who prefers to keep his personal life private from the neighbours. But their lives are all upended when Freya vanishes. As the police become involved and a frantic Paul and Steph desperately search for answers, they begin to realise that the truth behind their daughter's disappearance may lie closer to home than they were expecting. When everyone has something to hide, can you ever really know those closest to you? Or will some secrets be taken to the grave?

When Ben receives a mysterious invitation to an odd museum, he's swept into a peculiar world of forgotten secrets and wild magic in this illustrated novel. The invitation to the Gee Museum was delivered by bees. It wasn't addressed to anyone, but Ben knows that it was meant for him. Why else would the images on the postcard have stirred up memories of his father, who was lost at sea long ago? Ben makes his way to the old dilapidated building to find a host of curious talking animals awaiting his arrival. They are certain he is the only one who can save the museum. But Ben and the animals in the Gee collection will have to outwit a devious rival museum owner and a greedy land developer. With a bit of luck, some strange magic, and a little help from his mom, Ben might succeed in ensuring the future of the museum -- and finding the answers about his father that he's been searching for his whole life. Helen Cooper's first novel brims with mystery and hope, and her lovely illustrations bring the wonders of the Gee Museum to life.

'The unrelenting tension of this well-crafted debut kept me whizzing through the book . . . I loved the tension, the secrets and the satisfying, unexpected conclusion' KL Slater In a converted Georgian townhouse in south west London, three families live under one roof. The large flat that takes up the top two floors is home to the Harlow family: happily married Paul and Steph, and their bubbly teenage daughter Freya. The smaller first floor flat is rented by Emma, who spends most of her time alone, listening to people coming in and out of the building. And the basement flat belongs to Chris, a local driving instructor, who prefers to keep his personal life private from the neighbours. But their lives are all upended when Freya vanishes. As the police become involved and a frantic Paul and Steph desperately search for answers, they begin to realise that the truth behind their daughter's disappearance may lie closer to home than they were expecting. When everyone has something to hide, can you ever really know those closest to you? Or will some secrets be taken to the grave?

An addicting and twisty debut about an apartment building devastated by the disappearance of a teenage girl--and by the secrets that won't be kept behind each closed door--that will thrill fans of Lisa Jewell and Shari Lapena. One House. Three Families. Countless Secrets. From her downstairs apartment in suburban London, Emma has often overheard the everyday life of the seemingly perfect family upstairs--Steph, Paul and teenage daughter Freya--but has never got to know them. Until one day, she hears something that seizes her attention: Freya has vanished and the police are questioning Steph and Paul about their life. Do either of you have any enemies? Anyone who might want to harm or threaten you? The effects of Freya's disappearance ripple outward, affecting not just her parents, but everyone who lives in the building, including Emma and local driving instructor Chris, who was the last person to see the teenager before she went missing. Each character's life is thrown into sharp focus as devastating mistakes and long-held secrets are picked apart and other crimes come to light--including a child gone missing twenty-five years earlier, and a shocking murder--that make clear that the past never stays where we leave it, and that homes can be built on foundations of lies.

Featuring helpful examples and top tips throughout, this handy guide equips students with the tools to understand, respond to and apply lecturer feedback in order to continuously improve their academic performance. Chapters take students through the entire feedback process, from handling common feelings associated with feedback and making sense of criticism through to creating an effective action plan and applying feedback across their course. Using Feedback to Boost Your Grades will be an invaluable toolkit for students of all subject areas and levels who want to take control of their academic progress and make the most of the feedback they receive.

The invitation was delivered by bees. It wasn't addressed to anyone at all, but Ben knew it was for him. It would lead him to an old, shambolic museum, full of strange and bewitching creatures. A peculiar world of hidden mysteries and curious family secrets . . . and some really dangerous magic. Filled with her own wonderful illustrations, The Hippo at the End of the Hall is Helen Cooper's debut novel.

Helen Cooper's unique study examines how continuations of medieval culture into the early modern period, forged Shakespeare's development as a dramatist and poet. Medieval culture pervaded his life and work, from his childhood, spent within reach of the last performances of the Coventry Corpus Christi plays, to his dramatisation of Chaucer in The Two Noble Kinsmen three years before his death. The world he lived in was still largely a medieval one, in its topography and its institutions. The language he spoke had been forged over the centuries since the Norman Conquest. The genres in which he wrote, not least historical tragedy, love-comedy and romance, were medieval inventions. A high proportion of his plays have medieval origins and he kept returning to Chaucer, acknowledged as the greatest poet in the English language. Above all, he grew up with an English tradition of drama developed during the Middle Ages that assumed that it was possible to stage anything - all time, all space. Shakespeare and the Medieval World provides a panoramic overview that opens up new vistas within his work and uncovers the richness of his inheritance.

Medieval culture pervaded Shakespeare's life and work, from his childhood, spent within reach of the last performances of the Coventry Corpus Christi plays, to his dramatization of Chaucer in The Two Noble Kinsmen three years before his death. The world he lived in was still largely a medieval one, in its topography and its institutions. The language he spoke had been forged over the centuries since the Norman Conquest. The genres in which he wrote, not least historical tragedy, love-comedy and romance, were medieval inventions. A high proportion of his plays have medieval origins and he kept returning to Chaucer, acknowledged as the greatest poet in the English language. Above all, he grew up with an English tradition of drama developed during the Middle Ages that assumed that it was possible to stage anything - all time, all space. Helen Cooper's book looks at the role of all these continuations of medieval culture in enabling Shakespeare to become the world's greatest playwright. Shakespeare and the Medieval World provides a panoramic overview that opens up new vistas within his work and uncovers the richness of his inheritance.

He is utterly convinced that the bear will gobble him up if he doesn't feed it, so every day he carefully opens the door, throws in some food and slams it shut quickly - wham, bang, thump! Find out what happens when a nastly smell pervades the house and Mum and William decide to investigate .

The English Romance in Time is a study of English romance across the Middle Ages and the Renaissance. It explores romance motifs - quests and fairy mistresses, passionate heroines and rudderless boats and missing heirs - from the first emergence of the genre in French and Anglo-Norman in the twelfth century down to the early seventeenth. This is a continuous story, since the same romances that constituted the largest and most sophisticated body of secular fiction in the Middle Ages went on to enjoy a new and vibrant popularity at all social levels in black-letter prints as the pulp fiction of the Tudor age. This embedded culture was reworked for political and Reformation propaganda and for the 'writing of England', as well as providing a generous reservoir of good stories and dramatic plots. The different ways in which the same texts were read over several centuries, or the same motifs shifted meaning as understanding and usage altered, provide a revealing and sensitive measure of historical and cultural change. The book accordingly looks at those processes of change as well as at how the motifs themselves work, to offer a historical semantics of the language of romance conventions. It also looks at how politics and romance intersect - the point where romance comes true. The historicizing of the study of literature is belatedly leading to a wider recognition that the early modern world is built on medieval foundations. This book explores both the foundations and the building. Similarly, generic theory, which previously tended to operate on transhistorical assumptions, is now acknowledging that genre interacts crucially with cultural context - with changing audiences and ideologies and means of dissemination. The generation into which Spenser and Shakespeare were born was the last to be brought up on a wide range of medieval romances in their original forms, and they could therefore exploit their generic codings in new texts aimed at both elite and popular audiences. Romance may since then have lost much of its cultural centrality, but the universal appeal of these same stories has continued to fuel later works from Bunyan's Pilgrim's Progress to C. S. Lewis and Tolkien.

Every day, Cat, Squirrel and Duck make pumpkin soup - the best you've ever tasted. But one day, disaster strikes - there's not a single ripe pumpkin to be found! So, they make fish soup, mushroom soup and beetroot soup, but will the new soups be as delicious as their favourite? Duck doesn't think so - in fact he won't even try them! Poor Duck gets hungrier and hungrier and grumpier and grumpier, until at last Cat comes up with a soup that might just be . . . delicious!

Pumpkin Soup. Made by a Cat, a Squirrel and a Duck, waiting just for a pipkin of salt, to make it the best you ever tasted . . . But the salt jar smashes and there is none left for the Pumpkin Soup! But not everything goes to plan . . . Fans of Pumpkin Soup will be delighted by this sequel with its warm and vibrant illustrations.