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What happens to women whose lives are affected by human rights violations? What happens to their testimony in court or in front of a truth commission? Women face a double marginalization under authoritarian regimes and during and after violent conflicts. Yet reparations programs are rarely designed to address the needs of women victims. What Happened to the Women? Gender and Reparations for Human Rights Violations emphasizes the necessity of a gender dimension in reparations programs to improve their handling of female victims and their families. A joint project of the International Center for Transitional Justice and Canada's International Development Research Centre, What Happened to the Women? includes studies of gender and reparations policies in Guatemala, Peru, Rwanda, Sierra Leone, South Africa, and Timor-Leste. Contributors represent a wide range of fields related to transitional justice and include international human rights lawyers, members of truth and reconciliation commissions, and NGO representatives.
A People Best Book of Summer A New York Times Most Anticipated Book of the Summer A riveting investigation into a cold case asks how much control women have over their bodies and the direction of their lives. July 1970. Eighteen-year-old Paula Oberbroeckling left her house in Cedar Rapids, Iowa. Four months later, her remains were discovered just beyond the mouth of a culvert overlooking the Cedar River. Her homicide has never been solved. Fifty years cold, Paula’s case had been mostly forgotten when journalist Katherine Dykstra began looking for answers. A woman was dead. Why had no one been held responsible? How could the powers that be, how could a community, have given up? Tracing Paula’s final days, Dykstra uncovers a girl whose exultant personality was at odds with the Midwest norms of the late 1960s. A girl who was caught between independence and youthful naivete, between a love that defied racially segregated Cedar Rapids and her complicated but enduring love for her mother, and between a possible pregnancy and the freedoms that had been promised by the women’s liberation movement but that still had little practical bearing on actual lives. The more Dykstra learned about the circumstances of Paula’s life, the more parallels she saw in the lives of the women who knew Paula and the women in Paula’s family, in the lives of the women in Dykstra’s own family, and even in her own life. Captivating and expertly crafted from interviews with Paula’s family and friends, police reports, and on-the-scene investigation, What Happened to Paula is part true crime story, part memoir, a timely and powerful look at gender, autonomy, and the cost of being a woman.
During the course of three decades, Joseph Stalin’s Gulag, a vast network of forced labor camps and settlements, held many millions of prisoners. People in every corner of the Soviet Union lived in daily terror of imprisonment and execution. In researching the surviving threads of memoirs and oral reminiscences of five women victimized by the Gulag, author Paul R. Gregory has stitched together a collection of stories from the female perspective, a view in short supply. Capturing the fear, paranoia, and unbearable hardship that were hallmarks of Stalin’s Great Terror, Gregory relates the stories of five women from different social strata and regions in vivid prose, from their pre-Gulag lives, through their struggles to survive in the repressive atmosphere of the late 1930s and early 1940s, to the difficulties facing the four who survived as they adjusted to life after the Gulag. These firsthand accounts illustrate how even the wrong word could become a crime against the state. The book begins with a synopsis of Stalin’s rise to power, the roots of the Gulag, and the scheming and plotting that led to and persisted in one of the bloodiest, most egregious dictatorships of the 20th century.
She Votes is an intersectional story of the women who won suffrage, and those who have continued to raise their voices for equality ever since. From the first female Principal Chief of the Cherokee Nation to the first woman to wear pants on the Senate floor, author Bridget Quinn shines a spotlight on the women who broke down barriers. This book also honors the 100th anniversary of the Nineteenth Amendment with illustrations by 100 women artists. • A colorful, intersectional account of the struggle for women's rights in the United States • Features heart-pounding scenes and keenly observed portraits • Includes dynamic women from Elizabeth Cady Stanton to Audre Lorde She Votes is a refreshing and illuminating book for feminists of all kinds. Each artist brings a unique perspective; together, they embody the multiplicity of women in the United States. • From the pen of rockstar author and historian Bridget Quinn, this book tells the story of women's suffrage. • Perfect for feminists of all ages and genders who want to learn more about the 19th amendment and the journey to equal representation • You'll love this book if you love books like Notorious RBG: The Life and Times of Ruth Bader Ginsburg by Irin Carmon and Shana Knizhnik; Rad American Women A-Z: Rebels, Trailblazers, and Visionaries who Shaped Our History . . . and Our Future! by Kate Schatz and Miriam Klein Stahl; and Why I March: Images from The Women's March Around the World by Abrams Books.
The basis of the Oscar-winning film from writer/director Sarah Polley, starring Rooney Mara, Claire Foy, Jessie Buckley, with Ben Whishaw and Frances McDormand. INTERNATIONAL BESTSELLER “This amazing, sad, shocking, but touching novel, based on a real-life event, could be right out of The Handmaid's Tale.” -Margaret Atwood, on Twitter "Scorching . . . a wry, freewheeling novel of ideas that touches on the nature of evil, questions of free will, collective responsibility, cultural determinism, and, above all, forgiveness." -New York Times Book Review, Editors' Choice One evening, eight Mennonite women climb into a hay loft to conduct a secret meeting. For the past two years, each of these women, and more than a hundred other girls in their colony, has been repeatedly violated in the night by demons coming to punish them for their sins. Now that the women have learned they were in fact drugged and attacked by a group of men from their own community, they are determined to protect themselves and their daughters from future harm. While the men of the colony are off in the city, attempting to raise enough money to bail out the rapists and bring them home, these women-all illiterate, without any knowledge of the world outside their community and unable even to speak the language of the country they live in-have very little time to make a choice: Should they stay in the only world they've ever known or should they dare to escape? Based on real events and told through the “minutes” of the women's all-female symposium, Toews's masterful novel uses wry, politically engaged humor to relate this tale of women claiming their own power to decide.
The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival
What happens to a little girl who grows up without a father? Can she ever feel truly loved and fully alive? Does she ever heal—or is she doomed to live a wounded, fragmented life and to pass her wounds down to her own children? Fatherlessness afflicts nearly half the households in America, and it has reached epidemic proportions in the African-American community, with especially devastating consequences for black women. In this powerful, searingly intimate book, accomplished journalist, poet, and fiction writer Jonetta Rose Barras breaks the code of silence and gives voice to the experiences of America's fatherless women—starting with herself. "We are legions—a choir of wounded—listen to the dirge we sing," writes Barras of the millions of black women like her who lost, either through abandonment, rejection, poverty, or death, the men who gave them life. A father is the first man in a girl's life—the first man to look in her eyes, protect her, care for her, love her unconditionally. Fathers fashion their daughters as expertly and as powerfully as they do their sons. When a girl loses this man, she grows up with an ache that nothing else can soothe. Psychologists have found that fatherless daughters are far more likely to suffer from debilitating rage, depression, abuse, and addictions; they tend to seek "sexual healing" through promiscuity or anti-intimate behavior and end up fearing or despising the men whose love they crave. Barras knows from personal experience the traps and the fury of being a black fatherless daughter, and she makes her own life story the heart and soul of her book, alternating chapters of spellbinding memoir with the stories she has gathered from women all over the country. Passionate and shockingly frank, Whatever Happened to Daddy's Little Girl is the first book to explore the plight of America's fatherless daughters from the unique perspective of the African-American community. Like Hope Edelman's New York Times bestseller Motherless Daughters, this brilliant volume gives all fatherless daughters the knowledge that they are not alone and the courage to overcome the hidden pain they have suffered for so long.
New York Times Bestseller "Dark and twisty, with white-knuckle tension and jaw-dropping surprises." —Riley Sager, New York Times bestselling author of Home Before Dark In this smart and chilling thriller, master of suspense Mary Kubica, author of Just the Nicest Couple, takes domestic secrets to a whole new level, showing that some people will stop at nothing to keep the truth buried. People don't just disappear without a trace… Shelby Tebow is the first to go missing. Not long after, Meredith Dickey and her six-year-old daughter, Delilah, vanish just blocks away from where Shelby was last seen, striking fear into their once-peaceful community. Are these incidents connected? After an elusive search that yields more questions than answers, the case eventually goes cold. Now, eleven years later, Delilah shockingly returns. Everyone wants to know what happened to her, but no one is prepared for what they'll find… Don't miss Mary Kubica's chilling upcoming novel, She's Not Sorry, where an ICU nurse accidentally uncovers a patient's frightening past... Look for these other edge-of-your-seat thrillers by New York Times bestselling author Mary Kubica: The Good Girl Pretty Baby Don’t You Cry Every Last Lie When the Lights Go Out The Other Mrs. Just The Nicest Couple She's Not Sorry
Author : C. Sarah Soh Publisher : University of Chicago Press Page : 384 pages File Size : 34,83 MB Release : 2020-05-15 Category : History ISBN : 022676804X
In an era marked by atrocities perpetrated on a grand scale, the tragedy of the so-called comfort women—mostly Korean women forced into prostitution by the Japanese army—endures as one of the darkest events of World War II. These women have usually been labeled victims of a war crime, a simplistic view that makes it easy to pin blame on the policies of imperial Japan and therefore easier to consign the episode to a war-torn past. In this revelatory study, C. Sarah Soh provocatively disputes this master narrative. Soh reveals that the forces of Japanese colonialism and Korean patriarchy together shaped the fate of Korean comfort women—a double bind made strikingly apparent in the cases of women cast into sexual slavery after fleeing abuse at home. Other victims were press-ganged into prostitution, sometimes with the help of Korean procurers. Drawing on historical research and interviews with survivors, Soh tells the stories of these women from girlhood through their subjugation and beyond to their efforts to overcome the traumas of their past. Finally, Soh examines the array of factors— from South Korean nationalist politics to the aims of the international women’s human rights movement—that have contributed to the incomplete view of the tragedy that still dominates today.
Proud and solitary, Eel Marsh House surveys the windswept reaches of the salt marshes beyond Nine Lives Causeway. Arthur Kipps, a junior solicitor, is summoned to attend the funeral of Mrs Alice Drablow, the house's sole inhabitant, unaware of the tragic secrets which lie hidden behind the shuttered windows. It is not until he glimpses a pale young woman, dressed all in black, at the funeral, that a creeping sense of unease begins to take hold, a feeling deepened by the reluctance of the locals to talk of the woman in black - and her terrible purpose.