Caldecott Medalist Allen Say creates a beautiful story about an American girl who seeks adventure in Japan and discovers more than she could have imagined. In her grandmother’s house there is one Japanese print of a small house with lighted windows. Even as a small girl, Erika loved that picture. It will pull her through childhood, across vast oceans and modern cities, then into towns—older, quieter places—she has only ever dreamed about. But Erika cannot truly know what she will find there, among the rocky seacoasts, the rice paddies, the circle of mountains, and the class of children. For Erika-san, can Japan be all that she has imagined?
Fiction. Looking for a better life, Nora Simms sails from the East Coast to gold rush San Francisco with a plan for success: to strike it rich by trading on her good looks. But when a string of murders claims several of her fellow "women of ill fame," Nora grows uneasy with how closely linked all of the victims are to her. Even her rise to the top of her profession and a move to the fashionable part of town don't shelter her from the danger, and she must distinguish friend from foe in a race to discover the identity of the killer. "WOMAN OF ILL FAME deftly sidesteps all the hooker-with-a-heart-of-gold clichA[a¬As you think you see coming as it follows its heroine through the muddy two-fisted brawl that was gold rush San Francisco. The book starts with a bang, and for me it never lets up; I enjoyed the hell out of it"--Tamim Ansary
The dangers of wealth and beauty emerge from the shadows in the latest Only in Tokyo Mystery… English translator Yumi Hata often feels ill at ease in Tokyo’s traditional world, but she has never been seduced by its’ seedy underbelly––a place populated by beautiful, desperate men and women and the wealthy patrons that will pay anything to command their time. But fear for her friend Coco draws her into Club Nova, where Yumi is unprepared to face the temptations of professional boytoys, towers of champagne and Tokyo Metropolitan Police Detective Kenji. In Kabuki-cho to investigate a young hostess’s death, the last person Kenji expects to find there is Yumi. Kenji knows that his life-long crush is about to marry into one of the richest and oldest families in Japan, and that he should keep his distance. But Yumi can get into places that Kenji can’t, and she soon agrees to help him with another murder investigation. Their journey into the elite clubs reveals the darker side of Tokyo, and soon Yumi and Kenji find themselves in a dangerous game of cat and mouse with a killer who is ready to strike again…
From 1910 to 1940, over half a million people sailed through the Golden Gate, hoping to start a new life in America. But they did not all disembark in San Francisco; instead, most were ferried across the bay to the Angel Island Immigration Station. For many, this was the real gateway to the United States. For others, it was a prison and their final destination, before being sent home. In this landmark book, historians Erika Lee and Judy Yung (both descendants of immigrants detained on the island) provide the first comprehensive history of the Angel Island Immigration Station. Drawing on extensive new research, including immigration records, oral histories, and inscriptions on the barrack walls, the authors produce a sweeping yet intensely personal history of Chinese "paper sons," Japanese picture brides, Korean students, South Asian political activists, Russian and Jewish refugees, Mexican families, Filipino repatriates, and many others from around the world. Their experiences on Angel Island reveal how America's discriminatory immigration policies changed the lives of immigrants and transformed the nation. A place of heartrending history and breathtaking beauty, the Angel Island Immigration Station is a National Historic Landmark, and like Ellis Island, it is recognized as one of the most important sites where America's immigration history was made. This fascinating history is ultimately about America itself and its complicated relationship to immigration, a story that continues today.
Longlisted for the 2023 PEN/E.O. Wilson Literary Science Writing Award A kaleidoscopic journey into the world of nature’s most tantalizing flower, and the lives it has inspired. The epitome of floral beauty, orchids have long fostered works of art, tales of adventure, and scientific discovery. Tenacious plant hunters have traversed continents to collect rare specimens; naturalists and shoguns have marveled at orchids’ seductive architecture; royalty and the smart set have adorned themselves with their allure. In Orchid Muse, historian and home grower Erica Hannickel gathers these bold tales of the orchid-smitten throughout history, while providing tips on cultivating the extraordinary flowers she features. Consider Empress Eugenie and Queen Victoria, the two most powerful women in nineteenth-century Europe, who shared a passion for Coelogyne cristata, with its cascading, fragrant white blooms. John Roebling, builder of the Brooklyn Bridge, cultivated thousands of orchids and introduced captivating hybrids. Edmond Albius, an enslaved youth on an island off the coast of Madagascar, was the first person to hand-pollinate Vanilla planifolia, leading to vanilla’s global boom. Artist Frida Kahlo was drawn to the lavender petals of Cattleya gigas and immortalized the flower’s wilting form in a harrowing self-portrait, while more recently Margaret Mee painted the orchids she discovered in the Amazon to advocate for their conservation. The story of orchidomania is one that spans the globe, transporting readers from the glories of the palace gardens of Chinese Empress Cixi to a seedy dime museum in Gilded Age New York’s Tenderloin, from hazardous jungles to the greenhouses and bookshelves of Victorian collectors. Lush and inviting, with radiant full-color illustrations throughout, Orchid Muse is the ultimate celebration of our enduring fascination with these beguiling flowers.
Winner of The Association of Black Women Historians 2020 Letitia Woods-Brown Award for the best book in African American Women’s History and the 2021 Western Association of Women Historian's Barbara "Penny" Kanner Award 2021 Finalist for the Harriet Tubman Book Prize 2020 Finalist Berkshire Conference of Women Historians Book Prize Details how African-descended women’s societal, marital, and sexual decisions forever reshaped the racial makeup of Argentina Argentina promotes itself as a country of European immigrants. This makes it an exception to other Latin American countries, which embrace a more mixed—African, Indian, European—heritage. Hiding in Plain Sight: Black Women, the Law, and the Making of a White Argentine Republic traces the origins of what some white Argentines mischaracterize as a “black disappearance” by delving into the intimate lives of black women and explaining how they contributed to the making of a “white” Argentina. Erika Denise Edwards has produced the first comprehensive study in English of the history of African descendants outside of Buenos Aires in the late colonial and early republican periods, with a focus on how these women sought whiteness to better their lives and that of their children. Edwards argues that attempts by black women to escape the stigma of blackness by recategorizing themselves and their descendants as white began as early as the late eighteenth century, challenging scholars who assert that the black population drastically declined at the end of the nineteenth century because of the whitening or modernization process. She further contends that in Córdoba, Argentina, women of African descent (such as wives, mothers, daughters, and concubines) were instrumental in shaping their own racial reclassifications and destinies. This volume makes use of a wealth of sources to relate these women’s choices. The sources consulted include city censuses and notarial and probate records that deal with free and enslaved African descendants; criminal, ecclesiastical, and civil court cases; marriages and baptisms records and newsletters. These varied sources provide information about the day-to-day activities of cordobés society and how women of African descent lived, formed relationships, thrived, and partook in the transformation of racial identities in Argentina.
Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity—or both at once. From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.
