Search results for ""author jean"

A mother can never be free until she finds her children... The Good Morning America Book Club Pick February 2023 is a soaring novel inspired by true events.'A strong and beautiful novel that stares into the face of brutality and the heart of love' Jeanette Winterson'An intense, absorbing debut, concerned with the power and persistence of maternal love' The Sunday Times 'Action-packed, the novel paints an extraordinary portrait of motherly love and hope' Daily Mail----------------------------Mary Grace, Micah, Thomas Augustus, Cherry Jane and Mercy. These are the names of her children. The five who survived, only to be sold to other plantations. The faces Rachel cannot forget. It's 1834, and the law says her people are now free. But for Rachel freedom means finding her children, even if the truth is more than she can bear. With fear snapping at her heels, Rachel keeps moving. From sunrise to sunset, through the cane fields of Barbados to the forests of British Guiana and on to Trinidad, to the dangerous river and the open sea.Only once she knows their stories can she rest. Only then can she finally find home.----------------------------'Magnificent and epic. A story about love and the power it brings us' ' Frank Cottrell-Boyce'Like the River of its title, this novel sings. I was riveted by Rachel's story and I felt every fraught element of her journey. A beautiful debut' Cherie Jones'A powerful story, beautifully told' Jessica Moor'Immersive. A tender exploration of one woman's courage in the face of unbelievable cruelty. The heart of the novel lies in its celebration of motherhood and female resilience' Observer'The compelling premise of a mother in search of her children powers a moving and dynamic novel' Guardian 'A powerful, gripping novel about the strength of a mother's love' Red - The best books of January 2023'Full of love and compassion, this will be everywhere next year' Stylist - Pick of the big fiction books for 2023'Powerful, moving and lyrical' Woman & Home'A glorious and compelling story' Prima'It slices you open, lays out your parts, reassembles them and knits you back up again. A powerful account of love, loss, defiance... Breathtaking' Chikodili Emelumadu'Beautiful. A masterclass in how to speak of unspeakable things' Meg Clothier'Eleanor Shearer is a remarkable writer' Natasha Lester'A searing debut. Heartbreaking, hopeful, and unforgettable' Kristin Harmel

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In Mrs Dalloway, Virginia Woolf explores the events of one day, impression by impression, minute by minute, as Clarissa Dalloway's and Septimus Smith's worlds look set to collide - this classic novel is beautifully repackaged as part of the Penguin Essentials range.'She had a perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always had the feeling that it was very, very dangerous to live even one day.'On a June morning in 1923, Clarissa Dalloway, the glittering wife of a Member of Parliament, is preparing for a party she is giving that evening. As she walks through London, buying flowers, observing life, her thoughts are of the past and she remembers the time when she was as young as her own daughter Elizabeth, her romance with Peter Walsh, now recently returned from India; and the friends of her youth. Elsewhere in London Septimus Smith is being driven mad by shell shock. As the day draws to its end, his world and Clarissa's collide in unexpected ways.In Mrs Dalloway Virginia Woolf explored the events of one day, impression by impression, minute by minute, and recorded the feel of life itself.'One of the most moving, revolutionary artworks of the twentieth century' Michael Cunningham'Woolf is Modern. She feels close to us.' Jeanette WintersonBorn in 1882, Virginia Woolf was the daughter of the editor and critic Leslie Stephen, and suffered a traumatic adolescence after the deaths of her mother, in 1895, and her step-sister Stella, in 1897, leaving her subject to breakdowns for the rest of her life. With her sister, the painter Vanessa Bell, she was drawn into the company of writers and artists such as Lytton Strachey and Roger Fry, later known as the Bloomsbury Group. Among them she met Leonard Woolf, whom she married in 1912, and together they founded the Hogarth Press in 1917. Her first novel, The Voyage Out, appeared in 1915, and her major novels include Mrs Dalloway (1925), the historical fantasy Orlando (1928), written for Vita Sackville-West, the extraordinarily poetic vision of The Waves (1931), and Between the Acts (1941). Woolf lived an energetic life, reviewing and writing and dividing her time between London and the Sussex Downs. In 1941, fearing another attack of mental illness, she drowned herself.

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This book addresses the unique and profound indeterminacy of “Creole,” a label applied to white, black, and mixed-race persons born in French colonies during the nineteenth century. "Creole” implies that the geography of one’s birth determines identity in ways that supersede race, language, nation, and social status. Paradoxically, the very capaciousness of the term engendered a perpetual search for visual signs of racial difference as well as a pretense to blindness about the intermingling of races in Creole society. Darcy Grimaldo Grigsby reconstructs the search for visual signs of racial difference among people whose genealogies were often repressed. She explores French representations of Creole subjects and representations by Creole artists in France, the Caribbean, and the Americas. To do justice to the complexity of Creole identity, Grigsby interrogates the myriad ways in which people defined themselves in relation to others. With close attention to the differences between Afro-Creole and Euro-Creole cultures and persons, Grigsby examines figures such as Théodore Chassériau, Guillaume Guillon-Lethière, Alexandre Dumas père, Édouard Manet, Edgar Degas, the models Joseph and Laure, Josephine Bonaparte, Jeanne Duval, and Adah Isaacs Menken.Based on extensive archival research, Creole is an original and important examination of colonial identity. This essential study will be welcomed by specialists in nineteenth-century art history, French cultural history, the history of race, and transatlantic history more generally.

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Between 1942 and 1944 a very small, very secret, very successful clandestine unit of the Royal Navy, operated between Dartmouth in Devon, and the Brittany Coast in France. It was a crossing of about 100 miles, every yard of it dangerous. The unit was called the 15th Motor Gunboat Flotilla: crewed by 125 officers and men, it became the most highly decorated Royal Naval unit of the Second World War.The 15th MGBF was an extraordinary group of men thrown together in the most secret of adventures. Very few were regular Royal Naval officers: instead the unit was made up of mostly Royal Naval Volunteer Officers and 'duration only' sailors. Their home was a converted paddle steamer and luxury yacht, but their work could not have been more serious. Their mission was to ferry agents of SIS and SOE to pinpoint landing sites on the Brittany coast in Occupied France. Once they had landed their agents, together with stores for the Resistance, they picked up evaders, escaped POWs who had had the good fortune to be collected by escape lines run by M19, as well as returning SIS and SOE agents.It is a story that is inextricably entwined with that of the many agents they were responsible for - Pierre Hentic, Yves Le Tac, Virginia Hall, Albert Hué, Jeannie Rousseau, Suzanne Warengham, François Mitterrand and Mathilde Carré, as well as many others. Without the Flotilla, such intelligence gathering networks as Jade Fitzroy and Alliance would never have developed, and SOE's VAR Line and MI9's Shelburne Escape Line would never have been realised. Drawing on a huge amount of research on both sides of the Channel, including private archives of many of the families involved, A Dangerous Enterprise brings the story of this most clandestine of operations brilliantly to life.

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Sous l’aspect rassurant d’un recueil érudit, cet album est un permis de chasse aux trésors. Non pour les perceurs de murailles, mais pour les perceurs de mystères. Nul besoin de forcer les secrets des Pyramides ou des palais de Maharajas! Restons ‘Rive gauche’, où la Société Asiatique, libéralement ouverte, ne cesse d’enrichir sa bibliothèque, marquée par la mémoire de Jeanne-Marie Allier, fille du sinologue Paul Demiéville. Quand elle fut fondée, le 1er avril 1822, Paris était la capitale européenne de l’orientalisme. Jusqu’alors l’Asie était le domaine réservé des missionnaires et des marchands, dont le zèle n’était pas désintéressé. Anquetil-Duperron (1731-1805), traducteur de l’Avesta, fut le premier orientaliste au sens savant du mot. Depuis l’expédition d’Égypte, les orientalistes découvraient un monde encore plus captivant que les utopies des Voyages de Gulliver. À la Société Asiatique affluaient livres, chartes et rouleaux, tablettes d’argile, moulages d’inscriptions lapidaires, papyri, xylographies chinoises, feuilles de latanier couvertes de textes bouddhiques. Plus tard, avec les langues non écrites, arrivèrent des transcriptions sur sacs de ciment, notées à la hâte par les ethnologues. Présents dès 1822, Abel-Rémusat et Champollion affrontaient le même défi: déchiffrer des idéogrammes à l’aide de textes bilingues, sino-mandchou d’un côté, gréco-égyptien de l’autre. La quête des caractères spéciaux nécessaires à l’impression du Journal Asiatique fut un roman d’aventures, où se croisent marchands arméniens partant pour l’Égypte, ambassadeurs du Tsar en Mandchourie, graveurs méritants, et même la générosité du roi de Prusse, donateur des lettres dévanagari. Par l’extension de son champ géographique et disciplinaire, la Société Asiatique reflète la ferveur de milliers d’orientalistes, qui partagent depuis deux siècles le même projet humaniste et universaliste. Chaque livre porte la mémoire d’un savant. L’herbier chinois traduit l’insatiable curiosité du fondateur, le Comte de Lasteyrie. Le manuscrit du Lalita Vistara, est lié aux travaux d’Eugène Burnouf. Les charmantes images chinoises populaires sont un don d’Édouard Chavannes. À l’heure des spécialisations étroites et des cloisonnements excessifs, la présente collection ouvre un espace de réflexion et de citoyenneté universelles. Under the comforting aspect of a lavishly illustrated erudite collection, this album is a treasure hunting license. Not for breaking through walls, but for breaking enigmas. No need to break into the secret corridors of the Pyramids, to enter the mazes of the Maharajas' palaces! We can stay on the 'Left Bank', where the Société Asiatique, open to those who ask, has not ceased, for two centuries, to enrich its library, durably marked by the memory of Jeanne-Marie Allier, daughter of the great sinologist Paul Demiéville. When the Société Asiatique was founded on April 1st 1822, Paris was the European capital of research on the Orient. Until then, the Near East and Asia had been the exclusive domain of missionaries and merchants, whose zeal was not entirely disinterested. Anquetil-Duperron (1731-1805) was the first orientalist in the scholarly sense of the word, that is to say 'a true traveler, loving all men as his brothers, sailing all over the world, above wealth and poverty'. Since the Egyptian expedition, the horizon had opened on the depths of Asia. Orientalists discovered a world even more captivating than the amusing utopias of Gulliver's Travels. Certainly, no Asian people wrote diagonally, like Lilliputians or the English ladies. But how can one not marvel at the variety of media? Books, charters and scrolls, clay tablets, casts of lapidary inscriptions, papyri, Chinese xylographs, and leaves of exotic trees covered with Buddhist texts, all flowed in to the Société Asiatique,. Later, when ethnologists began collecting unwritten languages, they sent their transcriptions, hastily noted down on bags of cement. Both present at the first session of the Société Asiatique, Abel-Rémusat and Champollion faced the same challenge at the opposite ends of Asia: to decipher ideograms with the help of bilingual texts, Sino-Manchu on the one hand, Greco-Egyptian on the other. Printing the Journal Asiatique required special characters. The quest for these new fonts is a kind of adventure novel, in which we meet Armenian merchants leaving for Egypt, Tsar's ambassadors in Manchuria, skilled engravers, and even the generosity of the King of Prussia, donor of the Devanagari letters. The Imprimerie Nationale took over under the Second Empire. The library of the Société Asiatique mirrors the fervor of thousands of Orientalists who have shared the same humanist and universalist project for two centuries. Each work bears the memory of a scholar. The Chinese Herbarium reflects the insatiable curiosity of the founder, Count de Lasteyrie. The Lalita Vistara manuscript is linked to the work of Eugene Burnouf. The charming popular Chinese images are a gift from Edouard Chavannes. 'Truth is in the whole', wrote Hegel. At a time of narrow specialization and excessive compartmentalization, the present collection opens up a space for universal reflection and citizenship.

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Get started with an innovative approach to teaching history that develops literacy and higher-order thinking skills, connects the past to students' lives, and meets state and national standards (grades 7–12). Now in a second edition, this popular book provides an introductory unit to help teachers build a trustful classroom climate; over 70 primary sources (including a dozen new ones) organized into thematic units structured around an essential question from U.S. history; and a final unit focusing on periodization and chronology. As students analyze carefully excerpted documents, they build an understanding of how diverse historical figures have approached key issues. At the same time, students learn to participate in civic debates and develop their own views on what it means to be a 21st-century American. Each unit connects to current events with dynamic classroom activities that make history come alive. In addition to the documents, this teaching manual provides strategies to assess student learning; mini-lectures designed to introduce documents; activities to help students process, display, and integrate their learning; guidance to help teachers create their own units, and more.Book Features: Addresses the politicization of history head-on with updated material that allows students entry points into the debates swirling around their education. Makes document-based teaching easy with a curated collection of primary sources (speeches by presidents and protesters, Supreme Court cases, political cartoons) excerpted into manageable chunks for students. Challenges the "master narrative" of U.S. history with texts from Frederick Douglass, Susan B. Anthony, Malcolm X, César Chavez, Jeanne Wakatsuki Houston, and Judy Heumann. Offers printable copies of the documents included in the book, which can be downloaded at tcpress.com.

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A bold new critique of dialogue as a method of eliminating dissent Is dialogue always the productive political and communicative tool it is widely conceived to be? Resisting Dialogue reassesses our assumptions about dialogue and, in so doing, about what a politically healthy society should look like. Juan Meneses argues that, far from an unalloyed good, dialogue often serves as a subtle tool of domination, perpetuating the underlying inequalities it is intended to address.Meneses investigates how “illusory dialogue” (a particular dialogic encounter designed to secure consensus) is employed as an instrument that forestalls—instead of fostering—articulations of dissent that lead to political change. He does so through close readings of novels from the English-speaking world written in the past hundred years—from E. M. Forster’s A Passage to India and Jeanette Winterson’s The Passion to Indra Sinha’s Animal’s People and more. Resisting Dialogue demonstrates how these novels are rhetorical exercises with real political clout capable of restoring the radical potential of dialogue in today’s globalized world. Expanding the boundaries of postpolitical theory, Meneses reveals how these works offer ways to practice disagreement against this regulatory use of dialogue and expose the pitfalls of certain other dialogic interventions in relation to some of the most prominent questions of modern history: cosmopolitanism at the end of empire, the dangers of rewriting the historical record, the affective dimension of neoliberalism, the racial and nationalist underpinnings of the “war on terror,” and the visibility of environmental violence in the Anthropocene. Ultimately, Resisting Dialogue is a complex, provocative critique that, melding political and literary theory, reveals how fiction can help confront the deployment of dialogue to preempt the emergence of dissent and, thus, revitalize the practice of emancipatory politics.

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The USA TODAY bestseller! Inspired by the brave women of WWII, this is a moving and powerful novel of friendship, love and resilience for fans of My Name is Eva, The Alice Network and The Tattooist of Auschwitz. A story of love not a story of a war… A daring WWII pilot who grew up among the clouds, Juliet Caron’s life was one of courage, adventure – and a love torn apart by war. Every nook of her Cornish cottage is alive with memories just waiting to be discovered. Katherine Henderson has escaped to Cornwall for Christmas, but she soon finds there is more to her holiday cottage than meets the eye. And on the eve of Juliet’s 100th birthday, Katherine is enlisted to make an old lady’s final Christmas wish come true… Me Before You meets The English Patient in this stunning romantic historical novel ‘I loved it’ Jill Mansell Readers love The Last Letter from Juliet ‘OK…. I’ve finished the book. Holy ******…I had to keep taking breaks in the last 15% just so I didn’t break down in a flood of tears’ Zoe Hartgen ‘Read the first chapter and I. Was. HOOKED!’ Skye’s Mum ‘If you only read one book this year make it The Last Letter from Juliet’ Tracey Shults ‘I just couldn't put it down until finished’ Jeanette ‘Captures those stolen moments in dangerous and desperate times…beautiful, nostalgic and emotional’ Cheryl M-M ‘Jam packed full of emotion…I don't usually read historical fiction but I'm so glad I read this’ Jennie Scanlan ‘I can highly recommend this beautiful tale of love, sacrifice, friendship, courage and so much more’ Nessa Stimpson

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Lose yourself in the tortured love lives of expats in 1920s Paris in this iconic cult classic.'Nightwood is itself. It is its own created world, exotic and strange, and reading it is like drinking wine with a pearl dissolving in the glass ... From now on, a part of you is pearl-lined.' Jeanette Winterson'Like a dark lesbian genius rolling in a giant heap of damp, dead leaves. What a great, shaking, grieving party this book is - the best.' Eileen Myles'I read with the aching intensity of a person possessed ... The story of passion and grief, of exile and loneliness, spoke directly to me, a young woman who [never] felt she quite belonged ... A hymn to the dispossessed, the misbegotten and those who love too much.' Siri HustvedtNightwood tells the stories of the love-lives of a group of American expats and Europeans in Paris in the 1920s - an exotic, night-time underworld, eccentric, seedy and beautiful. A modernist masterpiece, and one of the earliest novels to explicitly portray homosexuality, the influence of Djuna Barnes's novel remains exceptional.'A bold, exceptionally well-written modernist prose poem ... The closest thing to James Joyce.' Andre Aciman'The great achievement of a style, the beauty of phrasing, the brilliance of wit and characterisation, and a quality of horror and doom very nearly related to that of Elizabethan tragedy.' T.S. Eliot'One of the greatest books of the twentieth century.' William S. Burroughs'A writer of wild and original gifts . To her name there is always to be attached the splendor of Nightwood, a lasting achievement of her great gifts and eccentricities - her passionate prose and, in this case, a genuineness of human passions.' Elizabeth Hardwick

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Winner of the Modern Language Association's Aldo and Jeanne Scaglione Prize for Comparative Literary Studies The border between fact and fiction has been trespassed so often it seems to be a highway. Works of history that include fictional techniques are usually held in contempt, but works of fiction that include history are among the greatest of classics. Fiction claims to be able to convey its own unique kinds of truth. But unless a reader knows in advance whether a narrative is fictional or not, judgment can be frustrated and confused. In The Distinction of Fiction, Dorrit Cohn argues that fiction does present specific clues to its fictionality, and its own justifications. Indeed, except in cases of deliberate deception, fiction achieves its purposes best by exercising generic conventions that inform the reader that it is fiction. Cohn tests her conclusions against major narrative works, including Proust's A la Recherche du temps perdu, Mann's Death in Venice, Tolstoy's War and Peace, and Freud's case studies. She contests widespread poststructuralist views that all narratives are fictional. On the contrary, she separates fiction and nonfiction as necessarily distinct, even when bound together. An expansion of Cohn's Christian Gauss lectures at Princeton and the product of many years of labor and thought, The Distinction of Fiction builds on narratological and phenomenological theories to show that boundaries between fiction and history can be firmly and systematically explored.

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"Isn't it … particularly difficult to 'speak' of your work?" Frédéric-Yves Jeannet asks Hélène Cixous in this fascinating book of interviews. "[I]t's only in writing, on paper, … that I reach the most unknown, the strangest, the most advanced part of me for me. I feel closer to my own mystery in the aura of writing it," Cixous responds. These conversations, which took place over three years and cover the creative process behind Cixous’s fictional writing, illuminate the genesis and particular genius of one of France’s most original writers. Cixous muses on her "coming to writing," from her first publications to her recent acclaim for a series of fictional texts that spring, as, she insists all true writing does, from her life: the loss of her father when she was a child, and her relationship with her mother, now in her tenth decade, as well as with such friends as Jacques Derrida and Jacques Lacan. The conversations delve into Cixous’s career as an academic in Paris and abroad, her summer retreats to the Bordeaux region to write uninterrupted for two months, her work with Ariane Mnouchkine’s Théàtre du Soleil, her political engagements and her dreams. Readers and writers who have followed Cixous’s path-blazing career as a fiction writer who crosses boundaries of genre and gender while posing essential questions about the nature of narrative and life will find this a book that cannot be put down.

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Wer ein Intellektueller ist, ist umstritten. In einem aber gleichen sich die Studien zur Geschichte der Intellektuellen: Sie blenden Frauen aus. Dieser Band gibt Frauen ein Forum, die als Kulturproduzentinnen im 20. und 21. Jahrhundert mit öffentlichen Stellungnahmen in die politische Arena eingegriffen und damit die Rolle der Intellektuellen wahrgenommen haben. Was forderte ihre Einmischungen heraus? Wie griffen sie ein? Orientierten sie sich an männlichen Vorbildern? Oder begründeten sie eigene Formen gesellschaftspolitischen Engagements? Die Autoren der Studien untersuchen Interventionsstrategien weiblicher Intellektueller in Konstellationsanalysen und entfalten das facettenreiche Rollenrepertoire und die Waffen der Kritik von 14 "Eingreifenden Denkerinnen": Käthe Kollwitz, Erika Mann, Margarete Buber-Neumann, Hannah Arendt, Simone de Beauvoir, Rita Levi Montalcini, Rossana Rossanda, Carla Lonzi, Susan Sontag, Yoko Ono, Jeanne Hersch, Elfriede Jelinek, Judith Butler und Naomi Klein. Als widerständige Zeitdiagnostikerinnen stellten sie, sich einmischend in die Politik, etablierte Weltanschauungen, Wahrnehmungsschemata, Werte und Einstellungen in Frage, um einen 'neuen'' 'anderen' Blick auf die Gesellschaft freizulegen. Sie ergriffen das Wort in Verteidigung der Rechte anderer. Sie artikulierten Unbehagen, klagten Missstände an, deckten Diskriminierungen und Menschenrechtsverletzungen auf. Sie provozierten durch Widerspruch, Dissens, Eigensinn. Das gesellschaftspolitische Engagement Eingreifender Denkerinnen überdauerte, wie die Studien zeigen, den vermeintlichen "Tod des intellektuellen" (Lyotard) in den 1980er Jahren. Es zeigt vielmehr Kontinuitäten und Wandel in der Wahrnehmung der Rolle der Intellektuellen im 20. und 21. Jahrhundert auf.

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"Knowledge is power! We can't all be doctors, but we can all understand our hormone health. This is a practical and inspirational book dedicated to helping women be their mental and physical best at any age." Jeanette WintersonWhat if you're not actually going crazy?What if you don't need antidepressants after all?What if it's not your head, but your hormones?When your hormones are out of control, you lose control, and it can feel like you've turned into someone else entirely. Women's hormonal issues are routinely misdiagnosed and misunderstood by their doctors, but the lucky ones find their way to Dr Marion Gluck's clinic where she empowers them with her unique knowledge on how to take back control of their bodies and minds.With her expert advice from puberty to post-menopause, let Dr Gluck show you how hormones can become your allies in optimising your mental health and physical wellbeing. It's time to feel like yourself again.Dr Marion Gluck is world-renowned as a pioneer in the use of bio-identical hormones for women. She has over 30 years' experience working as a medical doctor with women all around the world. Based in London, she now trains doctors internationally on this life-changing treatment.

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A magical, cosy Christmas read…Debbie Macomber meets Bewitched! ‘This holiday read was a whole lot of fun!’ Robyn Grady A recipe for festive disaster… With Aunt Erma back in charge of her magical pie shop Susanna Daniels thought life would return to normal. But there is no ‘normal’ in Hocus Hills and as the most magical time of year approaches Susie finds herself in a race to stop a magic revolution. Add in the unexpected arrival of the one that got away and a mysterious dog named Duncan, and it’s clear that this will be one Christmas that Susie will never forget! Readers love The Magic Pie Shop cozy mystery series: ‘ A lovely festive novel…made me smile and feel good’ Anna Maria, Netgalley ‘I loved the cozy magic throughout! I love the unique close-knit community, the magical pies…perfect read’ Jody Jonas, Netgalley ‘Christmassy fun, joy and magic and it was a perfect story to enjoy with a mug of hot chocolate and a large Christmas cookie’ Bridget East, Goodreads ‘Extremely enjoyable and funny to read’ Jeanne Grace, Goodreads ‘Truly magical…the festive cheer was so perfect’ Suzanne Waters ‘The love triangle among Susie, Josh, and Henry offers perfect spice to make this little book even more delectable’ Diary of a Book Fiend

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This is a collection of essays dealing with ESL/EFL/FL teacher education by experienced ESL/EFL/FL teacher educators and student teachers of different cultural backgrounds, and from different countries. The essays cover topics that focus both on the teacher as learner and the learner as teacher. This book recognizes that the language classroom has a particular culture of its own while being part of a broader school culture. As a result, the multi-foci nature of the chapters serve to present the varied and diverse language education needs, programs, and approaches. Contents: The National Foreign Languages: Can we Get from Here to There?, Sophie Jeffries; FLES Teacher Preparation: Competencies, Content and Complexities, Gladys C. Lipton; Journaling: A Path to Reflective Teacher Development, Aleiline J. Moeller; Alternative Assessment in Foreign Second Language: What do we in Foreign Language Know?, Charles R. Hancock; Where are the African American Foreign Language Teachers?, Mark English; Foreign Language Teacher Education in a Professional Development School, Alan Garfinkel and Carol Sosa; Portfolio Design and the Decision Making Process and in Teacher Education, JoAnn Hammadou; Peer Evaluation in In-Service Teacher Education, Jeannette Morris; Professional Development for Japanese Teachers, Yoshiko Saito; Successful Listening Comprehension Strategies: Implications for Foreign Language Teaching and Teacher Training, Rhonda Chipman-Johnson; Emergent L2 Writing in the French Immersion Classroom: Implications for Teacher Education of Where are the Holes in Whole Language?, Stephen Carey and Rishma Dunlop; Multimedia and Foreign Language Teacher: A Humananistic Perspective, Josef Hellebrandt; Culture: How do Teachers Teach it?, Zena Moore.

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Theodore Evergates provides the first systematic analysis of the aristocracy in the county of Champagne under the independent counts. He argues that three factors—the rise of the comital state, fiefholding, and the conjugal family—were critical to shaping a loose assortment of baronial and knightly families into an aristocracy with shared customs, institutions, and identity. Evergates mines the rich, varied, and in some respects unique collection of source materials from Champagne to provide a dynamic picture of a medieval aristocracy and its evolving symbiotic relationship with the counts. Count Henry the Liberal (1152-81) began the process of transforming a quasi-independent baronage accustomed to collegial governance into an elite of landholding families subordinate to the count and his officials. By the time Countess Jeanne married the future King Philip IV of France in 1284, the fiefholding families of Champagne had become a distinct provincial nobility. Throughout, it was the conjugal community, rather than primogeniture or patrilineage, that remained the core familial institution determining the customs regarding community property, dowry, dower, and partible inheritance. Those customs guaranteed that every lineage would survive, but frequently through a younger son or daughter. The life courses of women and men, influenced not only by social norms but also by individual choice and circumstance, were equally unpredictable. Evergates concludes that imposed models of "the aristocratic family" fail to capture the diversity of individual lives and lineages within one of the more vibrant principalities of medieval France.

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In this warmhearted middle-grade novel, Oona and her brother, Fred, love their cat Zook (short for Zucchini), but Zook is sick. As they conspire to break him out of the vet’s office, convinced he can only get better at home with them, Oona tells Fred the story of Zook’s previous lives, ranging in style from fairy tale to grand epic to slice of life. Each of Zook’s lives has echoes in Oona’s own family life, which is going through a transition she’s not yet ready to face. Her father died two years ago, and her mother has started a relationship with a man named Dylan—whom Oona secretly calls “the villain.” The truth about Dylan, and about Zook’s medical condition, drives the drama in this loving family story. Praise for The Five Lives of Our Cat Zook STARRED REVIEW "Rocklin’s characters are fully developed: readers will be invested. Set in Oakland, readers are also treated to a refreshingly authentic child’s view of a diverse city. The only imperfection in this novel is that it ends." —Booklist, starred review “Oona’s character is a combination of Harriet the Spy in curiosity and Anastasia in spunk. Another emotionally satisfying outing from Rocklin; hanky recommended.” —Kirkus Reviews "Just as she did in One Day and One Amazing Morning on Orange Street, Rocklin intertwines her characters so smartly that the many coincidences and serendipitous events feel organic to the story. The story’s ending—bittersweet, inevitable, and true—offers much-needed catharsis for the family and for anyone who has ever loved a pet." —The Horn Book "This heartwarming family tale is filled with resilient and thoughtful characters who are willing to learn from their mistakes. Readers who enjoy the novels of Jeanne Birdsall and Leslie Crunch will appreciate this charming story." —School Library Journal "There is a strong sense of place in this loving story with the ending sure to generate some tears. This would make a strong library lesson extension activity." —Library Media Connection Awards SCBWI’s Golden Kite Award for Fiction - 2012 Dorothy Canfield Fisher Book Award Rebecca Caudill Young Readers’ Book Award

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Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement. Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns.Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)

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In the decades between its debut performance in Paris in 1909 and the death of impresario Sergei Diaghilev in 1929, the Ballets Russes was an unrivalled sensation not only in France but in London, New York and the other cities it toured. Attention has often been centred on the links between Diaghilev's troupe and modernist art and music, but there has been surprisingly little written concerning the Ballets' role in tastemaking and trendsetting. Ballets Russes Style reveals for the first time the full extent of the ensemble's influence on haute couture. The Ballets Russes' seasons were an exciting laboratory for ambitious cultural experiments, often grounded in the aesthetic confrontation of those great designers, artists and composers who travelled with the troupe from St Petersburg - Leon Bakst, Alexandre Benois and Igor Stravinsky among them - and Paris's avant-garde, which included Picasso, Satie, Matisse, Debussy and Ravel. The ensemble brought the stage and everyday life into creative contact with each other, most noticeably in the world of fashion. In its heyday, the Ballets Russes was a potent force in defining Paris Style, bringing the work of great designers such as Jeanne Paquin and Coco Chanel to the stage, and creating sensibilities that resonated in the collections of couturiers from Paul Poiret to Yves Saint Laurent and beyond. Beautifully illustrated and drawing on unpublished images and memorabilia, this book illuminates the ways in which innovations by the Ballets Russes in dance, music, sets and costume both mirrored and invigorated contemporary culture.

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Winner, 2022 AATSEEL Best Book in Literary Studies, American Association of Teachers of Slavic and European LanguagesHonorable Mention, 2022 Aldo and Jeanne Scaglione Prize for Comparative Literary Studies, Modern Language AssociationFollowing the failure of communist revolutions in Europe, in the 1920s the Soviet Union turned its attention to fostering anticolonial uprisings in Asia. China, divided politically between rival military factions and dominated economically by imperial powers, emerged as the Comintern’s prime target. At the same time, a host of prominent figures in Soviet literature, film, and theater traveled to China, met with Chinese students in Moscow, and placed contemporary China on the new Soviet stage. They sought to reimagine the relationship with China in the terms of socialist internationalism—and, in the process, determine how internationalism was supposed to look and feel in practice.Internationalist Aesthetics offers a groundbreaking account of the crucial role that China played in the early Soviet cultural imagination. Edward Tyerman tracks how China became the key site for Soviet debates over how the political project of socialist internationalism should be mediated, represented, and produced. The central figure in this story, the avant-garde writer Sergei Tret’iakov, journeyed to Beijing in the 1920s and experimented with innovative documentary forms in an attempt to foster a new sense of connection between Chinese and Soviet citizens. Reading across genres and media from reportage and biography to ballet and documentary film, Tyerman shows how Soviet culture sought an aesthetics that could foster a sense of internationalist community. He reveals both the aspirations and the limitations of this project, illuminating a crucial chapter in Sino-Russian relations. Grounded in extensive sources in Russian and Chinese, this cultural history bridges Slavic and East Asian studies and offers new insight into the transnational dynamics that shaped socialist aesthetics and politics in both countries.

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A deluded mother who invented her past, an alcoholic father who couldn't deal with the present, a son who wondered if this could really be his family. Richard Glover's favourite dinner party game is called 'Who's Got the Weirdest Parents?'. It's a game he always thinks he'll win. There was his mother, a deluded snob, who made up large swathes of her past and who ran away with Richard's English teacher, a Tolkien devotee, nudist and stuffed-toy collector. There was his father, a distant alcoholic, who ran through a gamut of wives, yachts and failed dreams. And there was Richard himself, a confused teenager, vulnerable to strange men, trying to find a family he could belong to. As he eventually accepted, the only way to make sense of the present was to go back to the past - but beware of what you might find there. Truth can leave wounds - even if they are only flesh wounds.Part poignant family memoir, part hopeful search for the truth, this is a book for anyone who's wondered if their family is the oddest one on the planet. The answer: 'No'. There is always something stranger out there.PRAISE FOR FLESH WOUNDS'Both poignant and wildly entertaining' - Sydney Morning Herald'A new classic ... a breathtaking accomplishment in style and empathy' - The Australian'Heartbreaking and hilarious ... I couldn't put it down' - Sun Herald'Engrossing and extremely funny'- The Saturday Paper'Not since Unreliable Memoirs by Clive James has there been a funnier, more poignant portrait of an Australian childhood.' - Australian Financial Review'Sad, funny, revealing, optimistic and hopeful' - Jeanette Winterson

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A study of the women who led the United States section of the Women's International League for Peace and Freedom in the interwar years, this book argues that the ideas of these women—the importance of nurturing, nonviolence, feminism, and a careful balancing of people's differences with their common humanity—constitute an important addition to our understanding of the intellectual heritage of the United States. Most of these women were well educated and prominent in their chosen fields: they included Jane Addams and Emily Greene Balch, the only two United States women to win Nobel Prizes for Peace; Jeannette Rankin, the first woman elected to the U.S. Congress; and Dorothy Detzer, the woman who prompted the investigation of the munitions industry in the 1930's. The ideas of these women were not usually expressed in forms conventionally studied by intellectual historians. On the whole, their ideas must be teased out of organizational records, statements of principle and policy, and personal correspondence. When combined with an understanding of the personal backgrounds of the WIL leaders and placed in the context of early-twentieth-century America, these documents tell us what these women thought was important and why. The ideas of the WIL leaders are also analyzed in the context of the intellectual themes of Victorianism and modernism. Our understanding of these themes has been based largely on the work of privileged European and American men, and the ideas of women often fit uncomfortably into these traditional categories. A reconstruction of the ideas of the WIL leaders suggests that historians have overlooked an important, alternative intellectual tradition in the United States. To understand and appreciate women's thoughts, we must dissolve the old constructs and let new, multifaceted ones replace them.

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If there is one film in the canon of Carl Theodor Dreyer that can be said to be, as Jacques Lacan might put it, his most “painfully enjoyable,” it is Gertrud. The film's Paris premier in 1964 was covered by the Danish press as a national scandal; it was lambasted on its release for its lugubrious pace, wooden acting, and old-fashioned, stuffy milieu. Only later, when a younger generation of critics came to its defense, did the method in what appeared to be Dreyer's madness begin to become apparent. To make vivid just what was at stake for Dreyer, and still for us, in his final work, James Schamus focuses on a single moment in the film. He follows a trail of references and allusions back through a number of thinkers and artists (Boccaccio, Lessing, Philostratus, Charcot, and others) to reveal the richness and depth of Dreyer's work--and the excitement that can accompany cinema studies when it opens itself up to other disciplines and media. Throughout, Schamus pays particular attention to Dreyer's lifelong obsession with the “real,” developed through his practice of “textual realism,” a realism grounded not in standard codes of verisimilitude but on the force of its rhetorical appeal to its written, documentary sources. As do so many of the heroines of Dreyer's other films, such as La Passion de Jeanne d'Arc (1928), Gertrud serves as a locus for Dreyer's twin fixations; written texts, and the heroines who both embody and free themselves from them. Dreyer based Gertrud not only on Hjalmar Soderberg's play of 1906, but also on his own extensive research into the life of the “real” Gertrud, Maria van Platen, whose own words Dreyer interpolated into the film. By using his film as a kind of return to the real woman beneath the text, Dreyer rehearsed another lifelong journey, back to the poor Swedish girl who gave birth to him out of wedlock and who gave him up for adoption to a Danish family, a mother whose existence Dreyer only discovered later in life, long after she had died.

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A comprehensive compendium of artists and writers confronting questions of Black identity, activism and social responsibility in the age of Malcolm X and the Black Panthers, based on the landmark traveling exhibition A New York Magazine 2021 holiday gift guide pick What is “Black art”? This question was posed and answered time and time again between 1960 and 1980 by artists, curators and critics deeply affected by this turbulent period of radical social and political upheaval in America. Rather than answering in one way, they argued for radically different ideas of what “Black art” meant. Across newspapers and magazines, catalogs, pamphlets, interviews, public talks and panel discussions, a lively debate emerged between artists and others to address profound questions of how Black artists should or should not deal with politics, about what audiences they should address and inspire, where they should try to exhibit, how their work should be curated, and whether there was or was not such a category as “Black art” in the first place. Conceived as a reader connected to the landmark exhibition Soul of a Nation: Art in the Age of Black Power, which shone a light on the vital contributions made by Black artists over two decades, this anthology collects over 200 texts from the artists, critics, curators and others who sought to shape and define the art of their time. Exhaustively researched and edited by exhibition curator Mark Godfrey, who provides the substantial introduction, and Allie Biswas, included are rare and out-of-print texts from artists and writers, as well as texts published for the first time ever. Contributors include: Lawrence Alloway, Emma Amos, Benny Andrews, Tomie Arai, Ralph Arnold, Dore Ashton, Malcolm Bailey, Amiri Baraka, Romare Bearden, Fred Beauford, Cleveland Bellow, LeGrace G. Benson, Dawoud Bey, Camille Billops, Gloria Bohanon, Claude Booker, Frank Bowling, David Bradford, Peter Bradley, Gwendolyn Brooks, Kay Brown, Milton Brown, Vivian Browne, Linda Goode Bryant, Margaret G. Burroughs, Debbie Butterfield, Steve Cannon, Yvonne Parks Catchings, Elizabeth Catlett, Dana Chandler, Claudia Chapline, Charles Childs, Edward Clark, A.D. Coleman, Dan Concholar, John Coplans, Hugh M. Davies, Douglas Davis, Bing Davis, Alonzo Davis, Dale Davis, Melvin Dixon, Jeff Donaldson, Robert Doty, Emory Douglas, John Dowell, Louis Draper, David C. Driskell, Tony Eaton, Eugene Eda, Melvin Edwards, Ray Elkins, Ralph Ellison, Marion Epting, Elton Fax, Elsa Honig Fine, Frederick Fiske, Babatunde Folayemi, Clebert Ford, Edmund Barry Gaither, Addison Gayle, Henri Ghent, Ray Gibson, Sam Gilliam, Robert H. Glauber, Lynda Goode-Bryant, Allan M. Gordon, Earl G. Graves, Carroll Greene, Abdul Alkalimat, David Hammons, David Henderson, Napoleon Henderson, M.J. Hewitt, Richard Hunt, Sam Hunter, Josine Ianco-Starrels, Nigel Jackson, Jay Jacobs, Jae Jarrell, Wadsworth Jarrell, Daniel LaRue Johnson, Marie Johnson, Walter Jones, Lois Mailou Jones, Barbara Jones-Hogu, Cliff Joseph, Paul Keene, Martin Kilson, Wee Kim, April Kingsley, Hilton Kramer, Jacob Lawrence, Carolyn Lawrence, Don L. Lee, Hughie Lee-Smith, Samella Lewis, Tom Lloyd, Al Loving, Howard Mallory, Earl Roger Mandle, Jan van der Marck, Phillip Mason, James Mellow, Paul Mills, Evangeline J. Montgomery, Toni Morrison, Keith Morrison, Larry Neal, Cindy Nemser, Senga Nengudi, Robert Newman, Lorraine O'Grady, Ademola Olugebefola, John Outterbridge, Joe Overstreet, Marion Perkins, Marcy S. Philips, Howardena Pindell, Mimi Poser, Helaine Posner, Noah Purifoy, Ishmael Reed, Gary Rickson, Clayton Riley, Faith Ringgold, Mark Rogovin, Barbara Rose, Victoria Rosenwald, Joseph Ross, Bayard Rustin, Betye Saar, Raymond Saunders, Robert Sengstacke, Jeanne Siegel, Lowery Stokes Sims, Steve Smith, Beuford Smith, Frank Smith, Val Spaulding, Edward Spriggs, Nelson Stevens, James Stewart, Edward K. Taylor, Alma Thomas, Ruth Waddy, William Walker, Francis and Val Gray Ward, Timothy Washington, Burton Wasserman, Diane Weathers, John Weber, JoAnn Whatley, Charles White, Jack Whitten, Roy Wilkins, William T. Williams, Gerald Williams, Randy Williams, William Wilson, Hale Woodruff and Cherilyn C. Wright.

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“We are living history right now. I believe we need to do more to document this unique moment in America, and who better to convey what we all are feeling than our country’s greatest artists? It is my hope that in 50 years, art history classes will pull this book off the shelf and understand the deep emotion of this time.” — William Weinaug Around the world, many individuals and families have faced isolation due to COVID-19. Our lives have been changed as we face a historical crisis of unprecedented scale. But beauty has also come from this hardship. The Great American Paint In® was birthed to allow artists to paint their emotions during the pandemic, capturing this period of history in a unique way — through art. This book curates the products of the Paint In️®, revealing the responses of over 50 artists from across the continent. Artists share their experiences, their losses, and their hopes for the future. In doing so, they demonstrate the real grit and backbone of the American pandemic story. Like so many enduring these difficult times, they discovered a whole new world and a brand “new normal” that allows them to live, work, survive — and, most importantly, create. These stories have been shared by Wekiva Island online, at Gallery CERO, and around the country in several travelling art exhibits. Now, for the first time, they are being brought together in a single volume. Select artists include: Hai-Ou Hou, Olena Babek, Barbara Fox, Jill Stefani Wagner, Paul Schulenburg, Morgan Samuel Price, Kyle Stanley, Raymond Bonilla, Kathleen Dunphy, Jennfer Miller, Michelle Held, David Arsenault, John S Caggiano, Tony D'Amico, Karen Blackwood, Jeanne Rosier Smith, Justin T Worrell, Thomas Kegler, Shawn Krueger, Erik Koeppel, Ken Salaz, Hillary Scott, Thomas Adkins, Michael Orwick, Kim VanDerHoek, Cindy House, George Van Hook, Kim Lordier, Marc R Hansen, Sergio Roffo, Sam Vokey, Mary Erickson, Tom LaRock, Josh Clare, Howard B Friendland, Marc Dalessio, Andrew Orr, Kari Ganoung Ruiz, Charles Muench, Jim McVicker, Trish Coonrod, Joseph Daily, Jeffrey Hayes, Mitch Kolbe, Dogulas Wiltraut, Ray Howard, Nick Patten, Brett Scheifflee, Jeff Gola, Eleinne Basa, Bill Farnsworth, Garin J Baker, and Mary Jane Volkmann.

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Our perception of women's roles has changed dramatically since 1945. In this collection Joy Parr has brought together ten studies from a variety of disciplines examining changing ideas about women. Mariana Valverde writes about teenage girls in the immediate postwar years and finds that stereotypes of a supposedly simple, secure, politically quiescent, and sexually conformist life do not really hold. Joy Parr follows women shoppers of the early 1950s, in their sometimes comical encounters with male designers, manufacturers, and retailers, in search of the tools and totems of modernity for their homes. Increasingly these homes were in suburban subdivisions, whose pleasures and possibilities for women Veronica Strong-Boag reconsiders. Joan Sangster reminds us that wage-earning mothers were numerous in the fifties and sixties, and through a juxtaposition of their own stories with contemporary studies tells much about these self-denying women's lives. Franca Iacovetta discusses the experiences of immigrant and refugee women in northwestern and south-central Ontario, experiences that were interpreted through their starkly different European wartime memories. Based upon her work among the rural women of southwestern Ontario, Nora Cebotarev charts the changes that transformed farm families and finances from the sixties to the eighties. Ester Reiter compares the recollections of women who had worked together during the 1960s in an auto parts plant in the Niagara Peninsula with contemporary newspaper accounts of a strike, and leads us into a complex narrative of gender and militancy. Nancy Adamson reconsiders the diversity of feminist organizing within the province over the decades since second-wave feminism began; she tracks the different needs and paths that brought women to the women's liberation movement and the ways in which their feminist analysis arose from their experience as community activists. Linda Cardinal writes about Franco-Ontarian women, charting the ways in which feminist activists challenged and were challenged as they worked with traditional farm and church-based women's groups in northern and eastern Ontario. Marlene Brant Castellano and Janice Hill introduce us to four aboriginal women: Edna Manitowabi, Jeannette Corbiere Lavell, Sylvia Maracle, and Emily Faries, whose work has been to reclaim and build upon the knowledge and responsibilities long entrusted to the women of Ontario's First Nations.

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Peter, 17 years old, six foot tall and good looking has started to notice a ghostly orb hanging around in his bedroom, at the home he shares with his divorced mum. He resolves to speak to it the next time it appears and just as he is about to fall asleep that evening, the orb appears. He speaks to it and it answers back. The orb turns out to be nothing to do with a spirit but is actually a contact device called a 'Visioner' belonging to an alien ambassador, who has been studying and learning about Peter and his girlfriend Julie for nearly four years. Having decided that Peter was now old enough to understand the situation and mature enough to deal with it, the alien has made contact. After meeting the alien, whom Peter nicknames 'Clix', their friendship begins. Soon after, and having been given his own Visioner which can be used not only to see relatives in the present time but also to see relatives from times gone by and experience the same smells, sounds and sensations as they do, Peter undertakes what turns out to be a harrowing 'trip' to experience the horrors of how his great grandfather lost his life during the Second World War. On his return from that trip, Peter mentions to Clix that he'd noticed another Visioner, a blue orb, which Clix warns belongs to a rogue alien race, on the lookout for suitable gene donors, to strengthen their weakening race. Clix warns that it might affect Julie and allows Peter to let Julie into the secrets of the Visioner. To show Julie how the Visioner works, Peter looks in on her Auntie in Australia, only to find her and her husband at the bedside of their sick daughter, who urgently needs a bone marrow transplant to survive. Julie's family and Peter all undergo blood tests and Julie's mum, who proves to be an exact match, jets off to Australia. The very evening that she leaves for Australia, Julie's younger sister Jeanie is abducted along with her best friend Li-Wei. Through the use of the Visioner, Peter discovers that they, along with numerous other young girls are being held in a hypnotised state inside the rogue alien spacecraft, awaiting the gene harvesting process. So unfolds the race to find and free them before their bodies are violated and possible further harm occurs.

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'One of the most exciting new voices of the decade' Erin Kelly'Ambitious and arresting' Beth Underdown'Utterly engrossing' Louise Nealon'Brilliantly written... compelling' Kate Sawyer'Painfully real' Hanna Jameson'A visceral slice of female friendship' StylistEveryone's got that history, I guess. Everyone's got a story.When Emily meets enigmatic and dazzling actress Tamsin, her life changes. Drawn into Tamsin's world of Soho living, boozy dinners, and cocktails at impossibly expensive bars, Emily's life shifts from black and white to technicolour and the two women become inseparable.Tamsin is the friend Emily has always longed for; beautiful, fun, intelligent and mysterious and soon Emily is neglecting her previous life - her work assisting vulnerable women, her old friend Lucy - to bask in her glow. But when a bombshell news article about a decades-old sexual assault case breaks, Emily realises that Tamsin has been hiding a secret about her own past. A secret that threatens to unravel everything . . .Young Women is a razor sharp novel that slices to the heart of our most important relationships, and asks how complicit we all are in this world built for men.Praise for Jessica Moor'A fabulous new writer' Richard Osman'Compelling, tense and pacy read' The Observer, 10 Best Debut Novelists of 2020'Powerful and chilling, an important story, well told' Guardian'Vastly impressive . . . Deeply affecting and superbly told, it demands to be read' Daily Mail'Jessica Moor is a new young writer I believe in' Jeanette Winterson'Tense, beautiful and lyrical. Everyone should read this book' Sara Collins'Made me rage and weep and understand a little better. A powerful book telling stories that need to be heard' Rosamund Lupton

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’…an essential and fascinating manual for every woman who wants to understand equality within an ever-changing, modern world.’ Scarlett Curtis ‘…[this book] taught me more than any book has ever taught me about AI.’ Chris Evans, Virgin Radio How To Talk To Robots, is your girls guide to Artificial Intelligence. Entrepreneur Tabitha Goldstaub welcomes you into the AI world with a warm embrace. She brilliantly breaks down the tech-bro barriers offering a straightforward introduction and makes clear the enormous benefits of understanding AI.. If your social feed defines your spending habits or you’ve downloaded the latest filter to see what you’ll look like when you are old or now connect with your doctor using an app, have applied for a job online or used your phone to arrive at work in record time, AI is playing a part in how you live, work and play. We live in an era where machines are taught to learn and act without human intervention and there are infinite possibilities to their applications. The risk of these technologies biasing against you is real, and this book will give you tools to navigate the current and future developments consciously. As well as explaining the risks Tabitha lays out the awesome benefits AI can offer. From spotting disease to tailoring education and tackling climate change the potential rewards are life-changing. Starting with a potted history, Tabitha shines a light on the many unsung heroines since the rise of AI in the 1960s. In conversation with Karen Hao she simply demonstrates how the technology works (and sometimes doesn’t work!) and interviews a cross-section of women who use AI in their work today including Jeanette Winterson, Sharmadean Reid, Martha Lane Fox and Hannah Fry. This book doesn’t just present the challenge; Tabitha offers supportive practical advice and shares an extensive list of books, films, courses and more for further exploration. However it is that you identify with womanhood, wherever you are in life, and whatever you do, this technology is inescapable and now is your time to make sure AI works for you – and not you for it!

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How to Draw Manga Chibis & Cute Critters shows how to draw people and animals in the cutest chibi style using simple steps and easy-to-find art tools. Also included are tips and techniques for designing your own chibis! The word chibis (pronounced “chee-bees”) means “little” in Japanese. Chibis are super cute caricatures of people or animals that have been shrunken and squashed into funny, childlike creatures with big heads, stubby proportions, and silly expressions. With this book, learn to draw chibi people of all ages, dogs, cats, birds, fantasy critters, and more! Also included are tips and techniques encouraging you to design your own chibi creations once you are comfortable with the art style. And templates you can use over and over are included in the back to make drawing easy! No complicated tools are needed; you can create your own chibi art using just a pencil, pen, markers, and paper. The book opens with helpful sections on tools and materials, essential drawing techniques, color basics, and an examination of chibi faces and bodies. The step-by-step projects show you how to draw chibis of all kinds in any pose and from all angles. Tips and techniques for drawing chibi characters abound in How to Draw Manga Chibis & Cute Critters, including: What makes a chibi? Chibi faces Chibi front, side, back, and 3/4 views Super-chibis Basic poses Action poses Chibi facial expressions Chibi hairstyles Chibis young and old Chibi animals Chibi fantasy critters Chibi accessories, including clothes and props Templates Written and illustrated by Samantha Whitten and Jeannie Lee, How to Draw Manga Chibis & Cute Critters is perfect for beginning and intermediate artists, lovers of manga and anime, and more. You will love creating your own chibis!

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Winner, 2022 AATSEEL Best Book in Literary Studies, American Association of Teachers of Slavic and European LanguagesHonorable Mention, 2022 Aldo and Jeanne Scaglione Prize for Comparative Literary Studies, Modern Language AssociationFollowing the failure of communist revolutions in Europe, in the 1920s the Soviet Union turned its attention to fostering anticolonial uprisings in Asia. China, divided politically between rival military factions and dominated economically by imperial powers, emerged as the Comintern’s prime target. At the same time, a host of prominent figures in Soviet literature, film, and theater traveled to China, met with Chinese students in Moscow, and placed contemporary China on the new Soviet stage. They sought to reimagine the relationship with China in the terms of socialist internationalism—and, in the process, determine how internationalism was supposed to look and feel in practice.Internationalist Aesthetics offers a groundbreaking account of the crucial role that China played in the early Soviet cultural imagination. Edward Tyerman tracks how China became the key site for Soviet debates over how the political project of socialist internationalism should be mediated, represented, and produced. The central figure in this story, the avant-garde writer Sergei Tret’iakov, journeyed to Beijing in the 1920s and experimented with innovative documentary forms in an attempt to foster a new sense of connection between Chinese and Soviet citizens. Reading across genres and media from reportage and biography to ballet and documentary film, Tyerman shows how Soviet culture sought an aesthetics that could foster a sense of internationalist community. He reveals both the aspirations and the limitations of this project, illuminating a crucial chapter in Sino-Russian relations. Grounded in extensive sources in Russian and Chinese, this cultural history bridges Slavic and East Asian studies and offers new insight into the transnational dynamics that shaped socialist aesthetics and politics in both countries.

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A mother can never be free until she finds her children... The Good Morning America Book Club Pick February 2023 is a soaring novel inspired by true events.'A strong and beautiful novel that stares into the face of brutality and the heart of love' Jeanette Winterson'An intense, absorbing debut, concerned with the power and persistence of maternal love' The Sunday Times 'Action-packed, the novel paints an extraordinary portrait of motherly love and hope' Daily Mail----------------------------Mary Grace, Micah, Thomas Augustus, Cherry Jane and Mercy. These are the names of her children. The five who survived, only to be sold to other plantations. The faces Rachel cannot forget. It's 1834, and the law says her people are now free. But for Rachel freedom means finding her children, even if the truth is more than she can bear. With fear snapping at her heels, Rachel keeps moving. From sunrise to sunset, through the cane fields of Barbados to the forests of British Guiana and on to Trinidad, to the dangerous river and the open sea.Only once she knows their stories can she rest. Only then can she finally find home.----------------------------'Magnificent and epic. A story about love and the power it brings us' ' Frank Cottrell-Boyce'Like the River of its title, this novel sings. I was riveted by Rachel's story and I felt every fraught element of her journey. A beautiful debut' Cherie Jones'A powerful story, beautifully told' Jessica Moor'Immersive. A tender exploration of one woman's courage in the face of unbelievable cruelty. The heart of the novel lies in its celebration of motherhood and female resilience' Observer'The compelling premise of a mother in search of her children powers a moving and dynamic novel' Guardian 'A powerful, gripping novel about the strength of a mother's love' Red - The best books of January 2023'Full of love and compassion, this will be everywhere next year' Stylist - Pick of the big fiction books for 2023'Powerful, moving and lyrical' Woman & Home'A glorious and compelling story' Prima'It slices you open, lays out your parts, reassembles them and knits you back up again. A powerful account of love, loss, defiance... Breathtaking' Chikodili Emelumadu'Beautiful. A masterclass in how to speak of unspeakable things' Meg Clothier'Eleanor Shearer is a remarkable writer' Natasha Lester'A searing debut. Heartbreaking, hopeful, and unforgettable' Kristin Harmel

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In recognizing the relation between gender, race, and class oppression, American women of the postwar Progressive Party made the claim that peace required not merely the absence of violence, but also the presence of social and political equality. For progressive women, peace was the essential thread that connected the various aspects of their activist agendas. This study maps the routes taken by postwar popular front women activists into peace and freedom movements of the 1960s and 1970s. Historian Jacqueline Castledine tells the story of their decades-long effort to keep their intertwined social and political causes from unraveling and to maintain the connections among peace, feminism, and racial equality. Postwar progressive women and their allies often saw themselves as members of a popular front promoting the rights of workers, women, and African Americans under the banner of peace. However, the Cold War indelibly shaped the contours of their activism. Following the Progressive Party's demise in the 1950s, these activists reentered social and political movements in the early 1960s and met the inescapable reality that their agenda was a casualty of the left-liberal political division of the early Cold War era. Many Americans now viewed peace as a leftist concern associated with Soviet sympathizers and civil rights as the favored cause of liberals. Faced with the dilemma of working to reunite these movements or choosing between them, some progressive women chose to lead such New Left organizations as the Jeannette Rankin Brigade while others became leaders of liberal "second wave" feminist movements. Whether they committed to affiliating with groups that emphasized one issue over others or attempted to found groups with broad popular-front type agendas, Progressive women brought to their later work an understanding of how race, class, and gender intersect in women's organizing. These women's stories demonstrate that the ultimate result of Cold War-era McCarthyism was not the defeat of women's activism, but rather its reconfiguration.

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In the war against Hitler every secret counts… ‘Shines a light on a part of the British war effort I’d previously not been aware of…a fascinating, informative and heartwarming novel, and I loved it’ The New York Times and Sunday Times bestseller Jill Mansell Society heiress Evelyn Brooke-Edwards is a skilled interrogator – her beauty making her a non-threat in the eyes of the prisoners. Farm girl Betty Connors may not be able to type as she claimed, but her crack analytical skills soon find her unearthing covert connections. German ex-pat Judith Stern never expected to find herself listening in to German POW’s whispered conversations, but the Nazis took her father from her so she will do whatever it takes to help the Allies end this war. Billeted together in the attic of Latimer House – a place where secrets abound – Evelyn, Betty and Judith soon form a bond of friendship that carries them through the war. Because nothing is stronger than women united. Tucked away in the Buckinghamshire countryside, Latimer House, a grand country estate, stands proudly – a witness to some of greatest secrets of WW2. Used by the SOE to hold Nazi prisoners of war, this stunning historical novel is inspired by the untold story of the secret listeners of ‘M Room’ who worked day and night to help the Allies win the war. A must-read for fans of Mandy Robotham, Fiona Valpy and Kate Quinn. Readers love The Secrets of Latimer House: ‘Freaking fabulous! Five perfect stars for this perfect book!…The writing was wowza. So beautifully done. It flowed amazingly and honestly I couldn't tear my eyes from my Kindle’ Rubie ‘A truly fabulous read, full of drama intrigue and three fabulous characters’ Jeanie ‘I really enjoy this type of book which brings strong women together in exceptional circumstances, and this one did not disappoint’ Angela ‘This five-star read is the first historical fiction novel for Jules Wake and I think you’ll agree with me it’s a real treat for lovers of this genre!!!’ Norma ‘An excellent WWII-era historical fiction novel that is gripping, suspenseful, and engaging. I really enjoyed it!’ Rachel

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Mark Gregory Pegg's history of the Middle Ages opens and closes with martyrdom, the first that of a young Roman mother in a North African amphitheater in 203 and the second a French girl burned to death beside the Seine in 1431. Both Vibia Perpetua and Jeanne la Pucelle died for their Christian beliefs, yet that for which they willingly sacrificed their lives connects and separates them. Both were divinely inspired, but one believed her deity shared the universe with other gods, and the other knew that her Creator ruled heaven and earth. Between them, across the centuries, lives were shaped by the ebb and flow of the divine and the human. Here is the story of people struggling in life and in death to understand themselves and their relationship to God. Beatrice's Last Smile interweaves vivid portraits of such individuals to offer a sweeping and immersive story. Some are of enduring renown DL Augustine, Muhammad, Charlemagne, Heloise DLand others are obscure. An Egyptian youth fighting demons in the desert as the first monk; a Briton becomes a holy man after enslavement in Ireland; an emperor in Constantinople watches as rioters torch the city; a old Syrian monk advises the English on sex; the soul of a Merovingian noble flies through the night sky to heaven; an Irish warrior surfs the waves like a dolphin as he flees the Vikings; a crusader's boots squelch with blood on the streets of Jerusalem; a troubadour sings of love; a Muslim lord expresses admiration of the Templars; a pope proclaims that Christendom encompasses all time and space; a barefoot Franciscan friar visits the Great Khan of the Mongols; a Parisian rabbi argues for the holiness of the Talmud; and a poet laments being alive amid the horror of the Black Death. Together, they take readers from the vastness of the Roman Empire to small communities between the Mediterranean and the North Sea, from the nomads of the Asian steppes to the triumphant Church of Latin Christendom. Beatrice's Last Smile offers a pulsating history of the West: the passionate belief in the old gods that yields to a cosmos shaped by one; the transition from a penitential culture to a confessional one; the universal obsession with imitating Christ. The book is named for the moment in Dante Alighieri's Divine Comedy when his long-dead love, Beatrice, smiles one final time at Dante in paradise before turning away to look eternally upon the face of God. Mark Gregory Pegg's epic narrative captures a millennium within that fleeting smile, in ways that modern readers will find illuminating and haunting.

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On June 6, 1912, among the Katmai volcanoes and its resident native people, an unforgettable natural event occurred: the largest volcanic eruption on Earth during the twentieth century. In size comparable to Indonesia's Krakatau in 1883 and Tambora in 1815, one must go back 2,000 years to the north island of New Zealand to find as large a release of rhyolite magma. The actual eruption took place about 100 miles west of Kodiak in the Aleutian Range on the Alaskan Peninsula. In three days, a new volcano—Novarupta—was born. More than five cubic miles of ash and debris flew into the atmosphere, with heavier deposits filling an adjacent forty-four-square-mile valley in depths up to 1,000 feet. The dense, superheated waves of magmatic spray incinerated all living organisms, leaving a hot bed of igneous material that, when mixed with water from the surrounding glaciers and snowfields, produced tens of thousands of steam vents known as fumaroles. Thus was born the Valley of 10,000 Smokes. Native villages, some thousands of years old, were abandoned and never reestablished. The eruption was of such consequence that the National Geographic Society sent Robert F. Griggs to direct a four-year expedition to the site. Griggs and his party recorded their scientific expedition in stunning black-and-white photographs and moving text, which led to the publication of a 50-page article in National Geographic Magazine in 1918 and a subsequent book issued by the Society in 1922 that remains available today. Gary Freeburg has traveled to the Valley of 10,000 Smokes five times, from 2000 to 2011, in pursuit of rephotography of the contemporary landscape and the larger experience of wilderness. Although the fumaroles that Griggs so vividly portrays in words and pictures are largely gone, and that element of visual and volcanic activity has largely ceased, in Freeburg's photographs one can still feel the steam-filled air, sense the deafening noise of the eruption, and grasp the incredible physical forces that created this alluring landscape. Now preserved as part of the 4.7-million-acre Katmai National Park and Preserve, the Valley of 10,000 Smokes continues to inspire—not just esteemed volcanologists such as John Eichelberger and expert cultural anthropologists such as Jeanne Schaaf, but great artists such as Gary Freeburg who seek out the Alaskan sublime, as it is revealed in one of Earth's most remote, raw, and wild places. (See the publisher's website for further information on exhibits, book signings, and to view a slide show: http://gftbooks.com/books_Freeburg.html ).

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