Showcasing the work of more than 200 women writers of African descent, this major international collection celebrates their contributions to literature and international culture.

Twenty-five years ago, Margaret Busby’s groundbreaking anthology Daughters Of Africa illuminated the “silent, forgotten, underrated voices of black women” (Washington Post). Published to international acclaim, it was hailed as “an extraordinary body of achievement… a vital document of lost history” (Sunday Times). New Daughters Of Africa continues that mission for a new generation, bringing together a selection of overlooked artists of the past with fresh and vibrant voices that have emerged from across the globe in the past two decades, from Antigua to Zimbabwe with numerous South African contributors. Key figures join popular contemporaries in paying tribute to the heritage that unites them. Each of the pieces in this remarkable collection demonstrates an uplifting sense of sisterhood, honours the strong links that endure from generation to generation, and addresses the common obstacles women writers of colour face as they negotiate issues of race, gender and class, and confront vital matters of independence, freedom and oppression.

Custom, tradition, friendships, sisterhood, romance, sexuality, intersectional feminism, the politics of gender, race, and identity—all and more are explored in this glorious collection of work from over 200 writers. New Daughters Of Africa spans a wealth of genres—autobiography, memoir, oral history, letters, diaries, short stories, novels, poetry, drama, humour, politics, journalism, essays and speeches—to demonstrate the diversity and remarkable literary achievements of black women.

New Daughters Of Africa features a number of well-known South African contributors including Gabeba Baderoon, Nadia Davids, Diana Ferrus, Vangile Gantsho, Barbara Masekela, Lebogang Mashile and Sisonke Msimang.

Barbara Hammer: Pushing Out of the Frame by Sarah Keller explores the career of experimental filmmaker and visual artist Barbara Hammer. Hammer first garnered attention in the early 1970s for a series of films representing lesbian subjects and subjectivity. Over the five decades that followed, she made almost a hundred films and solidified her position as a pioneer of queer experimental cinema and art. In the first chapter, Keller covers Hammer's late 1960s-1970s work and explores the tensions between the representation of women's bodies and contemporary feminist theory. In the second chapter, Keller charts the filmmaker's physical move from the Bay Area to New York City, resulting in shifts in her artistic mode. The third chapter turns to Hammer's primarily documentary work of the 1990s and how it engages with the places she travels, the people she meets, and the histories she explores. In the fourth chapter, Keller then considers Hammer's legacy, both through the final films of her career-which combine the methods and ideas of the earlier decades-and her efforts to solidify and shape the ways in which the work would be remembered. In the final chapter, excerpts from the author's interviews with Hammer during the last three years of her life offer intimate perspectives and reflections on her work from the filmmaker herself. Hammer's full body of work as a case study allows readers to see why a much broader notion of feminist production and artistic process is necessary to understand art made by women in the past half century. Hammer's work-classically queer and politically feminist-presses at the edges of each of those notions, pushing beyond the frames that would not contain her dynamic artistic endeavors. Keller's survey of Hammer's work is a vital text for students and scholars of film, queer studies, and art history.

What is milk? Who is it for, and what work does it do? This collection of articles bring together an exciting group of the world's leading scholars from different disciplines to provide commentaries on multiple facets of the production, consumption, understanding and impact of milk on society. The book frames the emerging global discussion around philosophical and critical theoretical engagements with milk. In so doing, various chapters bring into consideration an awareness of animals, an aspect which has not yet been incorporated in these debates within these disciplines so far. This brand new research from scholars includes writing from an array of perspectives, including jurisprudence, food law, history, geography, art theory, and gender studies. It will be of use to professionals and researchers in such disciplines as anthropology, visual culture, cultural studies, development studies, food studies, environment studies, critical animal studies, and gender studies.

In Imaginary Empires, Maria O'Malley examines early American texts published between 1767 and 1867 whose narratives represent women's engagement in the formation of empire. Her analysis unearths a variety of responses to contact, exchange, and cohabitation in the early United States, stressing the possibilities inherent in the literary to foster participation, resignification, and rapprochement. New readings of The Female American, Leonora Sansay's Secret History, Catharine Maria Sedgwick's Hope Leslie, Lydia Maria Child's A Romance of the Republic, and Harriet Jacobs's Incidents in the Life of a Slave Girl confound the metaphors of ghosts, haunting, and amnesia that proliferate in many recent studies of early US literary history. Instead, as O'Malley shows, these writings foreground acts of foundational violence involved in the militarization of domestic spaces, the legal impediments to the transfer of property and wealth, and the geopolitical standing of the United States. Racialized and gendered figures in the texts refuse to die, leave, or stay silent. In imagining different kinds of futures, these writers reckon with the ambivalent role of women in empire-building as they negotiate between their own subordinate position in society and their exertion of sovereignty over others. By tracing a thread of virtual history found in works by women, Imaginary Empires explores how reflections of the past offer a means of shaping future sociopolitical formations.

Examines the role that parenting, as a theme and practice, plays in film and media cultures. Mothers of Invention: Film, Media, and Caregiving Labor constructs a feminist genealogy that foregrounds the relationship between acts of production on the one hand and reproduction on the other. In this interdisciplinary collection, editors So Mayer and Corinn Columpar bring together film and media studies with parenting studies to stake out a field, or at least a conversation, that is thick with historical and theoretical dimension and invested in cultural and methodological plurality. In four sections and sixteen contributions, the manuscript reflects on how caregiving shapes the work of filmmakers, how parenting is portrayed on screen, and how media contributes to radical new forms of care and expansive definitions of mothering. Featuring an exciting array of approaches-including textual analysis, industry studies, ethnographic research, production histories, and personal reflection-Mothers of Invention is a multifaceted collection of feminist work that draws on the methods of both the humanities and the social sciences, as well as the insights borne of both scholarship and lived experience. Grounding this inquiry is analysis of a broad range of texts with global reach-from the films Bashu, The Little Stranger (Bahram Beyzai, 1989), Prevenge (Alice Lowe, 2016), and A Deal with the Universe (Jason Barker, 2018) to the television series Top of the Lake(2013-2017) and Jane the Virgin (2014-2019), among others-as well as discussion of the creative practices, be they related to production, pedagogy, curation, or critique, employed by a wide variety of film and media artists and/or scholars. Mothers of Invention demonstrates how the discourse of parenting and caregiving allows the discipline to expand its discursive frameworks to address, and redress, current theoretical, political, and social debates about the interlinked futures of work and the world. This collection belongs on the bookshelves of students and scholars of cinema and media studies, feminist and queer media studies, labor studies, filmmaking and production, and cultural studies.

Confrontation is a memoir based on real events. Set in the early nineties, it follows the journey of a child growing up in South Africa’s season of change.

But all is not as it seems – biologically, domestically, emotionally – three words that immediately takes shape like the head, neck and tail of a monster brooding beneath the bed. Domestic unrest casts a thick veil over a much greater problem.

“One of your greatest challenges in this world, my darling, would be men... It’s a shame because you think you’re the relationship type?” So-called advice from a friend who suggested being gay might be a better option than what she was contemplating. Not that she had a choice. She wasn’t entirely herself yet, and that was the problem.

Kirsty Steinberg is the pen name for the author. Confrontation is her debut work.

International Advances in Education: Global Initiatives for Equity and Social Justice is an international research monograph series that contributes to the body of inclusive educational policies and practices focused on: empowering society's most vulnerable groups; raising the ethical consciousness of those in positions of authority; and encouraging all to take up the mantle of global equity in educational opportunity, economic freedom and human dignity. Each themed volume in this series draws on the research and innovative practices of investigators, academics, educators, politicians, administrators, and community organizers around the globe. This volume consists of three sections; each centered on an aspect of gender equity in the context of education. The chapters are drawn from a wide range of countries including: Australia, China, Gambia, India, Italy, Kenya, Kyrgyzstan, Laos, Slovenia, Swaziland, Grenada, Jamaica, Trinidad, Tobago, The United States, and Turkey addressing issues of gender equity, citizenship education, egalitarianism in sexual orientation, and strategies to combat human trafficking. The 15 chapters document both the progress and challenges facing those who strive for gender equity in access to education, the portrayal of women in curricula, and the acceptance of diverse sexual orientations within differing country contexts and provide an overview of promising policies, practices and replicable successful programs.

In the richly interdisciplinary study, Challenging Addiction in Canadian Literature and Classrooms, Cara Fabre argues that popular culture in its many forms contributes to common assumptions about the causes, and personal and social implications, of addiction. Recent fictional depictions of addiction significantly refute the idea that addiction is caused by poor individual choices or solely by disease through the connections the authors draw between substance use and poverty, colonialism, and gender-based violence. With particular interest in the pervasive myth of the "Drunken Indian", Fabre asserts that these novels reimagine addiction as social suffering rather than individual pathology or moral failure. Fabre builds on the growing body of humanities research that brings literature into active engagement with other fields of study including biomedical and cognitive behavioural models of addiction, medical and health policies of harm reduction, and the practices of Alcoholics Anonymous. The book further engages with critical pedagogical strategies to teach critical awareness of stereotypes of addiction and to encourage the potential of literary analysis as a form of social activism.