Fiona Davis – författare

A three-level series of grammar reference and practice books for teenage and young adult learners. Active Grammar Level 2 covers all the grammatical points usually taught at B1-B2 (CEF) level. The book presents grammar points in meaningful context through engaging and informative texts, followed by clear explanations. Useful tips highlight common mistakes that intermediate students usually make. Carefully graded exercises provide plenty of challenging practice and encourage students to apply their own ideas creatively to grammar learning. A large number of contrastive revision exercises in the book and on the CD-ROM allow students to assess and monitor their progress. This version without answers and CD-ROM is suitable for classroom use and self-study.

A three-level series of grammar reference and practice books for teenage and young adult learners. Active Grammar Level 1 covers all the grammar taught at A1-A2 (CEF) level. The book presents grammar points in meaningful context through engaging and informative texts, followed by clear explanations and useful tips that highlight common mistakes usually made by low-level learners. Exam-style exercises provide plenty of challenging practice and encourage students to apply their own ideas creatively to grammar learning. A large number of contrastive revision exercises in the book and on the CD-ROM allow students to assess and monitor their progress at regular intervals. This version without answers and CD-ROM is suitable for classroom use and self-study.

A three-level series of grammar reference and practice books for teenage and young adult learners. Active Grammar Level 2 covers all the grammatical points usually taught at B1-B2 (CEF) level. The book presents grammar points in meaningful context through engaging and informative texts, followed by clear explanations. Useful tips highlight common mistakes that intermediate students usually make. Carefully graded exercises provide plenty of challenging practice and encourage students to apply their own ideas creatively to grammar learning. A large number of contrastive revision exercises in the book and on the CD-ROM allow students to assess and monitor their progress. The answer key at the back of the book makes this version ideal for self-study.

A three-level series of grammar reference and practice books for teenage and young adult learners. Active Grammar Level 1 covers all the grammar taught at A1-A2 (CEF) level. The book presents grammar points in meaningful context through engaging and informative texts, followed by clear explanations and useful tips that highlight common mistakes usually made by low-level learners. Exam-style exercises provide plenty of challenging practice and encourage students to apply their ideas creatively to grammar learning. A large number of contrastive revision exercises in the book and on the CD-ROM allow students to assess and monitor their progress at regular intervals. The answer key at the back of the book makes this version ideal for self-study.

Rich both in twists and period detail, this tale of big-city ambition is impossible to put down. People Fiona Davis's stunning debut novel pulls readers into the lush world of New York City's glamorous Barbizon Hotel for Women, where in the 1950s a generation of aspiring models, secretaries, and editors lived side by side while attempting to claw their way to fairy-tale success, and where a present-day journalist becomes consumed with uncovering a dark secret buried deep within the Barbizon's glitzy past. When she arrives at the famed Barbizon Hotel in 1952, secretarial school enrollment in hand, Darby McLaughlin is everything her modeling agency hall mates aren't: plain, self-conscious, homesick, and utterly convinced she doesn't belong a notion the models do nothing to disabuse. Yet when Darby befriends Esme, a Barbizon maid, she's introduced to an entirely new side of New York City: seedy downtown jazz clubs where the music is as addictive as the heroin that's used there, the startling sounds of bebop, and even the possibility of romance. Over half a century later, the Barbizon's gone condo and most of its long-ago guests are forgotten. But rumors of Darby's involvement in a deadly skirmish with a hotel maid back in 1952 haunt the halls of the building as surely as the melancholy music that floats from the elderly woman's rent-controlled apartment. It's a combination too intoxicating for journalist Rose Lewin, Darby's upstairs neighbor, to resist not to mention the perfect distraction from her own imploding personal life. Yet as Rose's obsession deepens, the ethics of her investigation become increasingly murky, and neither woman will remain unchanged when the shocking truth is finally revealed.

In 1938, the anthropologist Norman Tindale gave a classroom of young Aboriginal children a set of crayons and asked them to draw. The children, residents of the government-run Aboriginal station Cummeragunja, mostly drew pictures of aspects of white civilization boats, houses and flowers. What now to make of their artwork? Were the children encouraged or pressured to draw non-Aboriginal scenes, or did they draw freely, appropriating the white culture they now lived within? Did their Aboriginality change the meaning of their art, as they sketched out this ubiquitous colonial imagery? Australian Settler Colonialism and the Cummeragunja Aboriginal Station traces Cummeragunja's history from its establishment in the 1880s to its mass walk-off in 1939 and finally, to the 1960s, when its residents regained greater control over the land. Taking in oral history traditions, the author reveals the competing interests of settler governments, scientific and religious organizations, and nearby settler communities. The nature of these interests has broad and important implications for understanding settler colonial history. This history shows white people set boundaries on Aboriginal behaviour and movement, through direct legislation and the provision of opportunities and acceptance. But Aboriginal people had agency within and, at times, beyond these limits. Aboriginal people appropriated aspects of white culture including the houses, the flowers and the boats that their children drew for Tindale - reshaping them into new tools for Aboriginal society, tools with which to build lives and futures in a changed environment.