Karen Wood – författare

When your loved ones go to Spirit we all have questions. When a child has gone we have even more. Have you ever wondered how they are? What they are doing? Will they continue to develop? Will they forget you? Will they visit? Do they know about new arrivals? Special events? Do they have fun? You may just find the answers here. All the pieces and poems are the words of those in the Spirit World. I don''t know the answers, but they do. As one child put it it isnt the end its our beginning

They learn, they love, they have fun, and they are safe. They are also as mischievous, as bright and lively and as adorable as children the world over.

Come and read their stories, their journeys to the Spirit World. Some of them did not have easy lives, some had illnesses, some accidents. All were met with love, with patience and with any help they needed at that time and later.

Not all are children, but the majority are. I ask no questions, give no demands, I simply accept what I am told and write it down. I have learned to be very careful how I phrase any comments I make to them, or any requests. If I wake at three in the morning, I am likely to find myself with company. I have been known to say, Hi sweetheart, could you please come back when I get up? It isnt then the childs fault if I visit the bathroom at four in the morning is it? I am up and I dont have the heart to turn them away again. So atfour in the morning I have been known to get out pad and pen, or turn on the pc

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This collection is the first book to focus on the intersection of dance, disability, and the law. Bringing together a range of writers from different disciplines, it considers the question of how we value, validate, and speak about diversity in performance practice, with a specific focus on the experience of differently-abled dance artists within the changing world of the arts in the United Kingdom.  Contributors address the legal frameworks that support or inhibit the work of disabled dancers and explore factors that affect their full participation, including those related to policy, arts funding, dance criticism, and audience reception.