The Yellow Lady is the first major critique of Australian impressions of Asia. Alison Broinowski argues that Australians have been backward in developing an appropriate image of themselves because of their ignorance of and ambivalence towards Asians. She traces the history of Australian ideas about Asia and the Pacific from pre-colonial time to the present, and concludes that some of these perceptions, no matter how irrational or archaic, continue to underlie the political and economic decisions Australians make about the Asia-Pacific region. No one has ever looked so exhaustively at Australian images of Asia. Alison Broinowski, a longtime diplomat and writer about Asian issues, identifies these images, where they come from, and how they have changed or not changed. She investigates artists who took an interest in Asia and why they did so. They include visual artists, novelists, film-makers, composers, architects, poets, potters, playwrights, photographers, puppeteers and choreographers. Japan receives the greatest attention as a continuing source of both modernity and tradition. Beginning with early Aboriginal contact with Indonesians, The Yellow Lady shows how chances for harmonious co-existence with the neighbourhood were lost in the colonial period. Successive wars set back this process of adaptation. In the final section, as increasing numbers of Asians migrate to Australia and Asian countries become economically dominant, Australian images of Asia undergo rapid change. Alison Broinowski argues that until Asia is accepted as part of the mainstream of Australian life, Australians will remain uncertain about their status, and that, if Australia's international image is to change, itmust begin by acknowledging the reality of Asia.

From the New York Times bestselling author of House of Eve—a 2023 Reese’s Book Club Pick! *A Best Book of the Year by NPR and Christian Science Monitor* Called “wholly engrossing” by New York Times bestselling author Kathleen Grissom, this “fully immersive” (Lisa Wingate, #1 bestselling author of Before We Were Yours) story follows an enslaved woman forced to barter love and freedom while living in the most infamous slave jail in Virginia. Born on a plantation in Charles City, Virginia, Pheby Delores Brown has lived a relatively sheltered life. Shielded by her mother’s position as the estate’s medicine woman and cherished by the Master’s sister, she is set apart from the others on the plantation, belonging to neither world. She’d been promised freedom on her eighteenth birthday, but instead of the idyllic life she imagined with her true love, Essex Henry, Pheby is forced to leave the only home she has ever known. She unexpectedly finds herself thrust into the bowels of slavery at the infamous Devil’s Half Acre, a jail in Richmond, Virginia, where the enslaved are broken, tortured, and sold every day. There, Pheby is exposed not just to her Jailer’s cruelty but also to his contradictions. To survive, Pheby will have to outwit him, and she soon faces the ultimate sacrifice.

You've heard of the Woman in White and the Woman in Black, now meet The Lady in Yellow Approaching her nineteenth birthday, Veronica Everly is on a train heading to a stately home in the wilds of Yorkshire to take on her first job as governess to two motherless children, Jacques and Jacqueline, twins so identical that together they are called "Jack." The secretive nature of the housekeeper, Mrs. Twig, strange books in the library, and the increasingly weird, disturbing antics of the twins bring up Veronica's deepest fears. But when she meets the twins' father, the dark, handsome and stormy Rafe de Grimston, her fate seems sealed. Belden House is full of mysteries. An unseen bell tolls, wolves prowl the grounds, and under the full moon, a lady appears in a yellow gown whose eyes run red with blood. There is a curse on Belden House that drives Rafe de Grimston to despair. It has something to do with the old church in the forest, Saint Lupine's. It has even more to do with the lady in yellow...

Focusing on the cultural and philosophic conflation between the "oriental" and the "ornamental," Ornamentalism offers an original and sustained theory about Asiatic femininity in western culture. This study pushes our vocabulary about the woman of color past the usual platitudes about objectification and past the critique of Orientalism in order to formulate a fresher and sharper understanding of the representation, circulation, and ontology of Asiatic femininity. This book alters the foundational terms of racialized femininity by allowing us to conceptualize race and gender without being solely beholden to flesh or skin. Tracing a direct link between the making of Asiatic femininity and a technological history of synthetic personhood in the West from the nineteenth to the twenty-first century, Ornamentalism demonstrates how the construction of modern personhood in the multiple realms of law, culture, and art has been surprisingly indebted to this very marginal figure and places Asian femininity at the center of an entire epistemology of race. Drawing from and speaking to the multiple fields of feminism, critical race theory, visual culture, performance studies, legal studies, Modernism, Orientalism, Object Studies and New Materialism, Ornamentalism will leave reader with a greater understanding of what it is to exist as a "person-thing" within the contradictions of American culture.

She has just given birth to their child. He labels her postpartum depression as »hysteria.« He rents the attic in an old country house. Here, she is to rest alone – forbidden to leave her room. Instead of improving, she starts hallucinating, imagining herself crawling with other women behind the room's yellow wallpaper. And secretly, she records her experiences. The Yellow Wall-Paper [1892] is the short but intense, Gothic horror story, written as a diary, about a woman in an attic – imprisoned in her gender; by the story. Charlotte Perkins Gilman's feminist novella was long overlooked in American literary history. Nowadays, it is counted among the classics. CHARLOTTE PERKINS GILMAN (1860–1935), born in Hartford, Connecticut, was an American feminist theorist, sociologist, novelist, short story writer, poet, and playwright. Her writings are precursors to many later feminist theories. With her radical life attitude, Perkins Gilman has been an inspiration for many generations of feminists in the USA. Her most famous work is the short story The Yellow Wall-Paper [1892], written when she suffered from postpartum psychosis.

Written in the same vein as the recent best-selling titles I DISSENT and SHE PERSISTED, here is a nonfiction picture book biography of Belva Lockwood, a lawyer, activist and presidential candidate who devoted her life to overcoming obstacles and demanding equality for women. Activist Belva Lockwood never stopped asking herself the question Are women not worth the same as men? She had big dreams and didn't let anyone stand in her way--not her father, her law school, or even the U.S. Supreme Court. She fought for equality for women in the classroom, in the courtroom, and in politics. In her quest for fairness and parity, Lockwood ran for President of the United States, becoming the first woman on the ballot. In this riveting nonfiction picture book biography, award-winning author Kate Hannigan and celebrated artist Alison Jay illuminate the life of Lockwood, a woman who was never afraid to take the floor and speak her mind.