Katie Jones

Learn how to crochet simple shape motifs that you can mix and match to create 15 amazing crochet projects, including garments, homewares and accessories. Crochet Shapes features granny squares, triangles, hexagons and octagons that can be easily joined together to complete stunning designs, from a cardigan and jumper to a cushion and blanket. As well as instructions and charts for the motifs and projects, there is also helpful information on sizing garment patterns up and down to make the book truly inclusive. Simple information on selecting your hook, yarn and colour palette is also featured so readers can adapt the patterns as they wish and they will also discover how to care for their creations and keep them looking fab! Handy instructional QR codes are included for the six motifs, giving readers another way to learn how to make the building blocks for their projects. Katie Jones's bright and beautiful designs are sure to inspire readers to pick up their yarn and get hooking!

Life has changed a lot for Sophie Weston since her family inherited a dilapidated mansion in the Hamptons and moved there from Brooklyn, New York. For one thing, her parents are unaware of the spirits who are trapped in the house and Sophie finds herself responsible for helping them find peace so they can move to the other side. Then there's the complicated love triangle between Sophie, Charlie, the handsome boy next door, and Gus, the ghost of her childhood friend who visits her bedroom at night. Sophie loves them both and doesn't want to lose either one from her life. But Sophie's greatest challenge comes when she is possessed by the spirit of a troubled young woman who died in her family's home and is out for revenge. How can Sophie free herself before Mia ruins her life? Or worse ...

With Hip to Be Square learn how to transform five simple granny squares into 20 bold and bright designs featuring size-inclusive garments, stylish accessories, and beautiful homewares. All five granny squares can be completed in a wide range of yarn weights, colours, and types; they can be extended to create bigger blocks, and they are interchangeable within the pattern designs, giving the reader unlimited options and inspiration. As well as the easy-to-follow instructions and step-by-step illustrations, Katie also includes tips on how to care for your makes, so they stand the test of time – the perfect antidote to fast fashion.

Katie Jones has woken from a deep, amnesic sleep. At 41 years of age, she came to the sudden, shocking realisation that she had been abused as a child. Katie now faced her greatest challenge of all; to go back to sleep to ease the pain, or to step into the woods and embrace the ominous shadows. It was here that Katie called out to the part of her she needed most: her inner child. Together they navigated their way through the bewilderment to emerge the other side as the heroes in their journey. And Then She Woke Up: How to RESTORY Your Life, will stir and awaken your inner child and inspire you to follow Katie's courageous footsteps into the woods. With the wounds and scars depicting her journey, Katie emerges from the forest with the greatest gift of all: the power and autonomy to RESTORY her life. Katie's honest and raw writing will empower you to do the same so that you too can create your own Happily Ever After.

Sophie Weston is a 16-year-old girl living in Brooklyn, NYC whose life is about to take an unexpected turn. Her father inherits a historic mansion in the Hamptons from a distant relative and her parents decide to uproot their life to move there. During her childhood Sophie would visit the house and its residents - eccentric owner Poppy Farrell who has recently passed away; Thomas, the melancholy gardener; Marcel, the cheerful cook and Clara the ill-tempered housekeeper. The visits to Poppy and her house stopped abruptly two years earlier and strangely Sophie doesn't seem to have clear memories of her time in the house. As she tries to make herself at home in the dilapidated old house, Sophie has confusing encounters with the boy that lives next door who seems to be scared of her. She also begins to have visions of a boy, around the same age as her. After a life-threatening incident she discovers that the boy and the neighbor were once her friends. The boy, Sam, is now a ghost and he reveals to Sophie that Poppy did not die of old age but was murdered. In trying to discover who in the house could have been responsible for Poppy's death, Sophie soon learns all the residents of the house are keeping secrets and so is the house. Sophie finds some of the rooms in the house are kept sealed to prevent evil spirits from inside these rooms from being released. She also finds a key that can release the spirits of those who have passed over. But the key goes missing and Sophie suspects the same person who is responsible for Poppy's death has also taken the key. Her life is complicated further by her developing feelings for Sam and her neighbor Charlie. Sophie has to uncover who is responsible for Poppy's death and stop them from using the key to release the spirits before the school Halloween dance is held at Sophie's house.

Disgust is a strong, immediate visceral reaction. While it may feel like a purely instinctive response, the cultural meanings ascribed to particular objects, bodies or behaviours play a significant role in determining whether or not they are experienced as disgusting. This interplay between bodies and ideas makes disgust a powerful source of metaphor in narrative fiction. For women’s writing, disgust is particularly problematic due to a misogynistic tradition in which the female body has often been coded as disgusting. This book offers a comparative study of recently published texts by eight female authors writing in French and German – Marie Darrieussecq, Amélie Nothomb, Lorette Nobécourt, Alina Reyes, Sibylle Berg, Jenny Erpenbeck, Monika Maron and Charlotte Roche – in terms of an aesthetics of disgust and asks to what extent disgust can be seen as a useful tool for feminist criticism. Since the late 1990s there have been increasing levels of academic interest in disgust in various disciplines, ranging from clinical psychology to aesthetics and moral philosophy. As one of the first full-length studies to consider literary uses of disgust, this book both contributes to the emerging field of disgust theory and offers a new contribution to the study of women’s writing.