All Things Women
Find your focus and strengths in times of crisis.
View Rights PortalFor over 25 years, David West Children’s Books have created beautifully designed, highly illustrated children’s non-fiction books for the UK and international market.
View Rights PortalWhile growing up, girls are more likely than boys to receive contradictory expectations from different aspects of their lives: parents, teachers, peers, society, and themselves. They could be rebellious but at the same time remain "good girls". They could express anger against bullies at school while simultaneously meeting teachers' expectations of nonaggressive behavior. They could be powerful and competitive at the same time that they worry about being considered "unfeminine". Girls struggle with these conflicting messages in their everyday lives, trying to please all these other people and losing track of themselves. Writer Le Fan, who has experienced the same contradictions as growing up, hopes that girls could love themselves, put themselves first a little more. So here comes the Picture Books about Emotion Management for Girls. The series contains five stories of five courageous little girls who were experiencing confusion in their lives. Little Le Fan in I am not Just a Good Girl tried to find the balance between two sides of herself—a cool girl and a good girl. Xiaoxiao in I love myself learned to be more confident and accepted her new look after her baby teeth fell out. Jiang in I'm so Jealous learned to deal with jealousy towards her best friend. A timid girl Xiao in I can Say No strived to express herself and stop the little boy's bullies. Feng in I Really Want to Win embraced her inner "tomboy" with daddy's encouragement. All the five little girls, though struggling, broke out of cultural and societal stereotypes swirling around them and became their true selves.
Little Women "has been read as a romance or as a quest, or both. It has been read as a family drama that validates virtue over wealth", but also "as a means of escaping that life by women who knew its gender constraints only too well".[6]:34 According to Sarah Elbert, Alcott created a new form of literature, one that took elements from Romantic children's fiction and combined it with others from sentimental novels, resulting in a totally new format. Elbert argued that within Little Women can be found the first vision of the "All-American girl" and that her multiple aspects are embodied in the differing March sisters.
Women and Pilgrimage presents scholarly essays that address the lacunae in the literature on this topic. The content includes well-trodden domains of pilgrimage scholarship like sacred sites and holy places. In addition, the book addresses some of the less-well-known dimensions of pilgrimage, such as the performances that take place along pilgrims' paths; the ephemeral nature of identifying as a pilgrim, and the economic, social and cultural dimensions of migratory travel. Most importantly, the book's feminist lens encourages readers to consider questions of authenticity, essentialism, and even what is means to be a "woman pilgrim". The volume's six sections are entitled: Questions of Authenticity; Performances and Celebratory Reclamations; Walking Out: Women Forging Their Own Paths; Women Saints: Their Influence and Their Power; Sacred Sites: Their Lineages and Their Uses; and Different Migratory Paths. Each section will enrich readers' knowledge of the experiences of pilgrim women. Readers' understanding will be further enhanced by the book's: · interdisciplinary nature: The contributors hail from a wide range of disciplines, including Anthropology, Political Science, French, Spanish, Fine Art, and Religious Studies; · uniqueness: The text brings together previously scattered resources into one volume; · feminist perspective: Much of the subject matter utilizes feminist theories and methodologies and argues that further research will be welcome. The book will be of interest to scholars of pilgrimage studies in general as well as those interested in women, travel, tourism, and the variety of religious experiences.
Women before the court offers an innovative, comparative approach to the study of women's legal rights during a formative period of Anglo-American history. It traces how colonists transplanted English legal institutions to America, examines the remarkable depth of women's legal knowledge and shows how the law increasingly undermined patriarchal relationships between parents and children, masters and servants, husbands and wives. The book will be of interest to scholars of Britain and colonial America, and to laypeople interested in how women in the past navigated and negotiated the structures of authority that governed them. It is packed with fascinating stories that women related to the courts in cases ranging from murder and abuse to debt and estate litigation. Ultimately, it makes a remarkable contribution to our understandings of law, power and gender in the early modern world.
Children of the World Illustrate the Bible It all began when we were looking forward to the fiftieth year Jubilee of the State of Israel. We were looking for a way, something unconventional, to bring Israel to the attention of hundreds of millions of people throughout the world. And so we came up with the idea, rather self-evident: The Bible. The Book of Books, which speaks to each and every one in dozens of countries and countless cultures. We asked ourselves: Who will bring this message? And then the idea came up: A worldwide competition among children to draw the stories of the Bible. We did not limit the subjects. Anything would be accepted as long as it was in line with the stories of the Bible. And wonder of wonders: Just like a fire in a field of thorns, the message went from country to country, from city to city, from school to school, from family to family: The children of the world are drawing the Bible. And the project reached 91 countries. Hundreds of thousands of drawings reached us. Only a handful of the thousands are brought in this album, which is the first in the series of titles flowing from the illustrations that were sent to Israel and were chosen by our staff of curators. And indeed from this handful we can already see their uniqueness. We all know the stories of the Bible, but here they materialize before our very eyes. As the children from five continents described them in their imagination, it seems that even the authors of the Bible themselves would not believe how alive and full were their heroes, as depicted with the brushes of these little children. Not only did we find a drawing of a story, but also a wide rainbow of emotions, notions, beliefs and outlooks of the world. And above all: Personal expression and riveting exposition without filters, analysis or criticism. We conducted the project throughout the world for three years, and at the end, when the thousands of drawings began streaming to the country, we were astounded by this enormous and absorbing crop. We could not avoid falling captives to the charm, strength of expression and intensity of experience that flowed from these drawings. It seems that thanks to the remarkable coming to the rescue by the children of the world, the stories of the Bible won an inspiring, artistic revival. Amos Rolnik This book was previously published by Mallmedia Publishing House& Rolnik Publishing, Something Different In 2002. 273 Pages, 25X32 cm, Color Illustrations,
Exile, its pain and possibility, is the starting point of this book. Women's experience of exile was often different from that of men, yet it has not received the important attention it deserves. Women in exile in early modern Europe and the Americas addresses that lacuna through a wide-ranging geographical, chronological, social and cultural approach. Whether powerful, well-to-do or impoverished, exiled by force or choice, every woman faced the question of how to reconstruct her life in a new place. These essays focus on women's agency despite the pressures created by political, economic and social dislocation. Collectively, they demonstrate how these women from different countries, continents and status groups not only survived but also in many cases thrived. This analysis of early modern women's experiences not only provides a new vantage point from which to enrich the study of exile but also contributes important new scholarship to the history of women.
Gender-based violence (GBV) in travel and tourism is embedded within wider social structures of gender inequalities and discrimination. Even though it is pertinent to study GBV in all its forms, this book focuses on the multiple and interconnected manifestations of violence that women/girls encounter in tourism consumption and production (physical, sexual, emotional or socio-economic), while seeking to open the debate on violence against sexual minorities (LGBT) and discussing men/boys as victims and perpetrators of GBV. By engaging in a critical exploration of the theoretical landscape of GBV and case studies on GBV and sexual harassment, the book adopts a multidisciplinary perspective drawing on feminist, intersectional and post-colonial frameworks, bringing together contributions from academics and practitioners across the globe.
A girl whose body is starting to change, and who starts exploring herself with great curiosity, notices that her Mom's body is also changing. It all started when Mom noticed a lump in one of her breasts. Thus beings a journey of mutual self-exploration, unending love, compassion, and the joy of sharing the marvel that the body is, and the importance of self exploration for women to take care of their bodies.
Little Shilu loves to dance around naked. She wants to be like the animals; like Pirate, her cat. When her grandmother Nannu says she can’t because she is now a big girl, Shilu gets down to understanding why she can’t. Peppered with Nannu’s loving chiding, intimate grandma-granddaughter bonding over conversations, and a heart-to-heart between the mother and this little inquisitive daughter, this book is a reflection of the wild and free nature of childhood. Rhuchi Mhasane’s soft evocative illustrations rendered in pencil with watercolour, and put together digitally, create a dreamlike charm. Richa Jha’s gentle, affectionate and lyrical text takes the reader into the mind of the little girl who can’t wait to get the answers to her ‘Why can’t I?’
The memory of the forest tells two stories. One, that of a little girl and her mother, and the other story told by the mother to her daughter: a princess who has seen her village burn, a princess who has known fire and violence up close, a princess who hides, turns into a ball; but she is discovered by another - a cat - who makes her remember, questions her. It is a story that is permeated by the dialogues between mother and daughter around the story being told. Elizabeth Builes’ illustrations, with their gestural strokes, her impeccable handling of a palette of soft tones, her skill in the handling of nature and the creation of intimate scenes, give life to a story that goes beyond what is narrated in words.
Daddy wasn’t Daddy until Ria popped out of his pocket. Or so he says. Giggi and Daddy is a light-hearted tale which through an innocent clash of narratives between a father and his daughter explores the evolving definition of what it means to be the ‘Best Dad in the World’. Richa Jha takes the reader on a jolly fun ride of tall tales and a fancy imagination, and an adorable Daddy-daughter duo. Mithila Ananth’s blend of simple uncomplicated lines and textured backdrops that ooze perfect comic timing make this book a hilarious visual treat.
Aadya looks just like her mother (Aai)—same little nose, same delicate ears, same big eyes, and identical thick, long hair. But one day, Aai goes away to a big hospital with a promise to return before Aadya learns her next Math lesson. The long-awaited return shocks Aadya because now her mother looks completely unlike her. She wonders if Aai will ever greet her with her usual, cheery, ‘Hello! Mini-me.’ Or will Aadya have to take matters into her own hands just to hear that again?With lyrical prose and a tender touch, Aai and I is an empowering story of the bond between a mother and a daughter, and of the little one finding her own identity as she finds herself no longer 'looking' the same as her mother. Mamta Nainy captures with elan Aadya’s innocence, impatience, and dilemma, and Sanket Pethkar’s vibrant, gorgeous artwork brings to life a typical Indian household in the state of Maharashtra.
However, the age-old tradition of oral storytelling is on the decline. Rapid urbanisation, the breakdown of the extended family, technology and so on have altered our social fabric. Whilst our daily lives are still peppered with snippets of remembered words of wisdom and proverbs, the reality is that a new generation of Africans have never had the pleasure of listening to a story being told by a storyteller. Story, Story! Story Come! is a contribution to larger efforts to revive storytelling in Africa and beyond. Through a global online contest, Positively African invited African writers, wherever they lived and whatever their age, to write a folktale – either based on an old one, or newly imagined. The challenge was to develop new narratives that speak to issues that are fundamental to Africa’s development in a way that is unconventional but true to our past traditions of folktale and oral storytelling. The stories needed to contain life lessons that are relevant for both young and old, however writers were invited to be as inventive and disruptive as they wished in terms of theme, form, language, characters, imagery and context. The ten winning stories are refreshingly imaginative and tackle a mix of issues. We criss-cross from South Sudan to South Africa, Mali, Niger, Nigeria, Ghana, Kenya and Zambia. Some stories offer valuable moral lessons on greed and pride; others celebrate bravery, perseverance and friendship. One story takes us to a real archaeological site in Niger where a young girl imagines the future. In another, African water spirits share a world with a Beyoncé-obsessed teen that is taught a big lesson in humility. We have also included two additional stories, one by author and publishing partner Zukiswa Wanner and another by the editor of the anthology, Maimouna Jallow. One thing that they all have in common is that they speak to issues we face globally today, from an African perspective.
This graphic novel tells the story of Nyiragitwa, a Rwandan woman who is believed to have lived in the seventeenth century. It is based on an oral tradition that was shared by a man named Ndamyumugabe with the Belgian historian Jan Vansina in 1958 and raises important questions about how Rwandan women might have lived and contributed to their communities in the past.
This book is the first investigation on how official organizers built and sustained the national militant campaign of the Women's Social and Political Union between 1903 and 1918. Whilst the overall policy of the Union was devised by an ever-decreasing circle of women, centred around the mother-daughter team of Emmeline and Christabel Pankhurst, much of its actual activity, including its more extreme militant actions such as arson, was devised and implemented by these organizers who worked in the provinces and in London. Women of the right spirit reveals organizers to be a diverse bunch of women, whose class backgrounds ranged from the aristocratic to the extremely impoverished. It describes the ways in which they were recruited and deployed, and the work they undertook throughout Britain. The exhausting pace of their itinerant life is revealed as well as the occasions when organizers fell out with their employers or their own branches. Taking the story of the WSPU's workers up to the end of the First World War, it considers what directions they took when votes for women became a reality. The book will appeal to academics, postgraduates and undergraduates with an interest in women's history, as well as a more general readership wishing to understand the extent of support for the votes for women campaign and the mechanisms through which it organized. ;
Women, the arts and globalization: Eccentric experience is the first anthology to bring transnational feminist theory and criticism together with women's art practices to discuss the connections between aesthetics, gender and identity in a global world. The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization. Bringing scholarly essays on gender, art and globalization together with interviews and autobiographical accounts of personal experiences, the diversity of the book is relevant to artists, art historians, feminist theorists and humanities scholars interested in the impact of globalization on culture in the broadest sense. ;
Once upon a time, an old couple lived together. They had a good life but had no children. One day, when the old lady was cleaning a bowl of peas, she saw a tiny little girl named “Little Pea”. She wanted to be their daughter. Little Pea went to play outside, but she and her friends lost track of time and were far from home. This was the perfect opportunity for the beast to take them home and eat them. Do you think a tiny girl like Little Pea would be able to defeat a giant beast? “Little Pea and the Sneaky Beast” is an Old Iranian folktale that concentrates on the true potentials and abilities of children regardless of any factors. Little Pea is tiny and different, but that by no means is enough reason that she wouldn’t be able to defeat even the biggest threats! AWARDS & RECOGNITION: Image of the Books Winner, Russia 2020
Women reading Shakespeare, 1660-1900 comprehensively rediscovers a lost tradition of women's writing on Shakespeare. Since Margaret Cavendish published the first critical essay on Shakespeare in 1664, women have written as scholars, critics, editors, performers and popularisers of Shakespeare. Many found in Shakespeare criticism the opportunity to raise a wide variety of issues, ranging from the use of women in society, family life, social relations and ethnic difference. In their different ways, women appropriated Shakespeare to their own ends - not always in step with their male contemporaries. Virtually none of this work is available today; it is unread and unknown. This fascinating anthology draws upon extensive new research to collect for the first time in one volume the Shakespeare criticism of some fifty British and American women writing before 1900. It includes the work of both familiar and unknown names and represents the diversity of literary genres used by women: the scholarly article, the periodical essay, book-length studies, personal memoirs, books for children, school editions. The volume also includes previously unknown Shakespeare illustrations by women, and a general introduction to the development of women's criticism of Shakespeare before 1900. ;
Tumi Letsatsi is a 13-year old melanin kween living in Rondebosch, Cape Town. Her favourite colour is yellow, she's still trying to figure out how not to dent her afro on the bus, and how one goes about (ahem!) “french kissing”. She’s a little awkward and a lot uncertain about her future, friendships and how to put together a cool outfit! But then she stumbles across the magic of coding and creates an app called “Project Prep” that goes viral and rockets her and her friends to fame. Then everything starts to fall apart, as she deals with a catfish who befriends her and steals her code, nasty rumours at school and the newfound attention of a crush. The New Girl Code (by Niki Smit, locally edited by Buhle Ngaba) is about the wonders of working in tech, aimed at girls and young women aged 9-15. The project is an initiative of Inspiring Fifty and based on an idea by Janneke Niessen.
Inspired by the life story of Palestinian artist, Tamam Al-Akhal, The Lilac Girl is the sixth book for younger readers by award-winning author, Ibtisam Barakat. The Lilac Girl is a beautifully illustrated short story relating the departure of Palestinian artist and educator, Tamam Al-Akhal, from her homeland, Jaffa. It portrays Tamam as a young girl who dreams about returning to her home, which she has been away from for 70 years, since the Palestinian exodus. Tamam discovers that she is talented in drawing, so she uses her imagination to draw her house in her mind. She decides one night to visit it, only to find another girl there, who won’t allow her inside and shuts the door in her face. Engulfed in sadness, Tamam sits outside and starts drawing her house on a piece of paper. As she does so, she notices that the colors of her house have escaped and followed her; the girl attempts to return the colors but in vain. Soon the house becomes pale and dull, like the nondescript hues of bare trees in the winter. Upon Tamam’s departure, she leaves the entire place drenched in the color of lilac. As a children’s story, The Lilac Girl works on multiple levels, educating with its heart-rending narrative but without preaching, accurately expressing the way Palestinians must have felt by not being allowed to return to their homeland. As the story’s central character, Tamam succeeds on certain levels in defeating the occupying forces and intruders through her yearning, which is made manifest through the power of imaginary artistic expression. In her mind she draws and paints a picture of hope, with colors escaping the physical realm of her former family abode, showing that they belong, not to the invaders, but the rightful occupiers of that dwelling. Far from being the only person to have lost their home and endured tremendous suffering, Tamam’s plight is representative of millions of people both then and now, emphasizing the notion that memories of our homeland live with us for eternity, no matter how far we are from them in a physical sense. The yearning to return home never subsides, never lessens with the passing of time but, with artistic expression, it is possible to find freedom and create beauty out of pain.