UNITED KINGDOM AUTHOR · FICTION · CHILDREN
Tim Bowler
Tim Bowler (born 14 November 1953) is an author of books for teenagers and young adults. He won the 1997 Carnegie Medal from the CILIP, recognising the year's best children's book by a British subject, for the novel River Boy. The Sunday Telegraph has called him "the master of the psychological thriller" and The Independent "one of the truly individual voices in voices in British teenage fiction".
The first day of school was even worse he'd thought it would be.
— from Shadows
Most acclaimed
Midget
Left under his older brother's care when his mother dies in childbirth, Midget, a physically challenged boy, is viciously abused by his brother throughout his first fifteen years, and Midget's only friend is an elderly boat builder.
Starseeker
Luke's world is in chaos. His 'mates' want to hurt him, his love-life's a mess, he misses his dad and hates his mum's new boyfriend. He's even lost his passion for piano. When the sound of a child crying starts to haunt him, Luke thinks he's going mad. But the noise soon leads him to an attic room in a creepy house and the strange and secretive people who live there. Can he resolve the complex mysteries of the house before the bullies close in on him? And will the journey free him from his sadness?
Shadows
Cast shadows have been exploited in art to enhance the impression of the surrounding light as well as that of the solidity of the casting objects. They can contribute to the mood of the scene, and can reveal the presence of features outside the space represented, but as Professor Gombrich points out, they appear only sporadicaly and have been more frequently ignored or suppressed in Western art. Gombrich touches on the ambiguous nature of shadows in myth, legend, and philosophy, and briefly analyses the factors governing their shape: the location and form of the light source, the shape of the illuminated object and that of the surface on which the shadow falls, and the position of the viewer. Early Renaissance painters such as Masaccio and Campin, intent on a faithful rendering of visual reality, did incorporate shadows in their art, but artists of Leonardo's time largely avoided painting them, and it was not until early in the seventeenth century that painters - particualrly Caravaggio and Rembrandt - were again interested in the effects of shadows. In subsequent centuries artists of the Romantic, Impressionist and Surrealist movements exploited the device of the cast shadow to enhance the realism or drama of their images.