Sapphire Carmichael's life changes when an online argument escalates into a relentless campaign of harassment and death threats. Fearing for her safety, she flees her London home and finds refuge in a quiet West Country village, adopting a new identity as Melissa. There, she falls for the charismatic Kai Tudor, who promises protection but hides dark secrets. As Melissa navigates a web of deception, she learns the truth about Kai, and must choose between love and safety. Amidst village life, Melissa forges bonds with her family members and new friends. As secrets unfold and danger escalates, Melissa must choose her allies carefully and rely on her new-found strength.
Why did the industrial revolution take place in 18th century Britain and not elsewhere in Europe or Asia? Robert Allen argues that the British industrial revolution was a successful response to the global economy of the 17th and 18th centuries.
This compelling new history situates the religious upheavals of the civil war years within the broader history of the Church of England and demonstrates how, rather than a destructive aberration, this period is integral to (and indeed the climax of) England's post-Reformation history.
Here is practical advice for anyone who wants to build their business by selling overseas. The International Trade Administration covers key topics such as marketing, legal issues, customs, and more. With real-life examples and a full index, A Basic Guide to Exporting provides expert advice and practical solutions to meet all of your exporting needs.
Seventeen in a series of annual reports comparing business regulation in 190 economies, Doing Business 2020 measures aspects of regulation affecting 10 areas of everyday business activity.
A fascinating study of the ways in which consumption transformed social practices, gender roles, royal policies, and the economy in seventeenth-century England. It reveals for the first time the emergence of consumer society in seventeenth-century England.
This publication is a highly visual celebration of the massively popular, but now largely forgotten, Britain Can Make It exhibition. Organized by the Council of Industrial Design, it was held in empty ground-floor galleries of the Victoria & Albert Museum, from September to December 1946. A groundbreaking, morale boosting exhibition, it showcased British design and manufacturing. Despite its short run, it boasted an incredible 1.5 million visitors, and remains one of the most visited exhibitions ever held at the V&A. Long before the end of the Second World War hostilities, the government's Post War Export Trade Committee recognized the importance of promoting the country's manufacturing capabilities. Plans for an exhibition of 'National Importance' were set in place in October 1942, for an event that would illuminate the gloom of austerity, educate the public in the value of good design, and most importantly, boost much needed foreign trade. Britain's need to promote, manufacture and export its goods was urgent. The job of organizing the exhibition was given to the Council of Industrial Design on behalf of the government's Board of Trade. From its early planning stages, there was a desire to create an exhibition that was full of color, light and airy, and far removed from the browns and greens of the inter-war years. The exhibition was also intended to work as a public morale boosting exercise and it did, attracting visitors from around the country. Mile-long queues constantly formed outside the V&A. Interviewed in 1984, James Gardner, the designer of the exhibition, commented on the motivation for it: 'We'd got to get British manufacturers to produce well-designed goods quickly and to cheer the British public up. They were so depressed. Give them something to look forward to. You know, this was the dream of the future, if you like.' BCMI was not a trade show. Manufacturers had to put forward their products and only those deemed the best examples were chosen by specialist committees. An accompanying catalog detailing the manufacturers of products (and significantly, wherever possible the names of the designers of each product), could be bought by visitors from one of the bookstalls dotted around the exhibition. The catalog explained when goods would be available for the home and trade markets: 'Now, ' 'Soon' or 'Later.' Most often they were 'Later' for the home market which led to negative comments in the press, such as: 'Britain Can't Have It, ' 'Britons can't buy it, ' and 'Britain Can't Get It.' Products representing key consumer groups, including clothing, leisure, and domestic products were displayed. These were diverse, from pottery and glass, to radios, women's and men's wear, furniture, fabrics, toys, jewelry, boilers, taps, and sporting equipment. The Furnished Rooms section showcased room sets that sought to show how a range of people from different professional groups might live. By taking its structure loosely from the exhibition itself and from the accompanying Design '46 catalog, Britain Can Make It will take the reader through an eclectic range of subject areas and consumer products. The book begins with a discussion of the political climate and economic motivations that led to this exhibition of 'National Importance' taking place, and an overview of the contemporary social context. Additional essays will cover specific aspects of the exhibition itself, including the surrealist design of the exhibition, the art and artists involved, the naming, and the 'Design Quiz.' Most chapters will be in the form of short illustrated essays.
