School is now in session! Learn the art of drawing manga with YouTube sensation and manga expert Mei Yu.

In Manga Drawing School, Mei guides you through every artwork step by step, from drawing simple faces and hairstyles to striking poses and action-packed fantasy scenes. You'll discover over 50 lessons that will help you master the skills you need to create manga characters and scenes that are packed with personality.

Starting with the basics – from drawing the right lines and layering colour to storyboarding and using speech bubbles – you'll build your skills chapter by chapter with lessons on expressions, hands and feet, outfits, and even fantasy characters. Try your hand at different manga styles including chibi, shonen, and chibi art, and take your art to the next level with Mei's tips and masterclasses.

With Mei's help and encouragement, you'll create characters that are packed with personality, whatever your age or skill level. So what are you waiting for? Let's get started!

Irreverent, witty and wise, But the Girl is a coming-of-age story about not wanting to leave your family behind 'A wonderful new novel for a metamodern world' BRANDON TAYLOR, author of REAL LIFE 'A skilled and singular new talent' LIST 'The voice sometimes recalls Lucia Berlin, JD Salinger or Lorrie Moore but it's entirely her own' SHARLENE TEO, author of PONTI Having been Jane Eyre, Anna Karenina and Esther Greenwood all my life, my writing was an opportunity for the reader to have to be me. Girl was born on the very day her parents and grandmother immigrated from Malaysia to Australia. The story goes that her mother held on tight to her pelvic muscles in an effort to gift her the privilege of an Australian passport. But it's hard to be the embodiment of all your family's hopes and dreams, especially in a country that's hostile to your very existence. When Girl receives a scholarship to travel to the UK, she is finally free for the first time. In London and then Scotland she is meant to be working on a PhD on Sylvia Plath and writing a postcolonial novel. But Girl can't stop thinking about her upbringing and the stories of the people who raised her. How can she reconcile their expectations with her reality? Did Sylvia Plath have this problem? What even is a 'postcolonial novel'? And what if the story of becoming yourself is not about carving out a new identity, but learning to understand the people who made you who you are?

Although new historical scholarship on trauma has expressed great interest in exploring the role of metaphor and modernist figurative language in writing about trauma, there has so far been relatively little systematic scrutiny of the links between modernist aesthetics and the shocking and unresolved nature of traumatic history. This book, therefore, seeks to remark on a modernist vision of history as trauma shared by both Freud and modernist writers. Bringing a historical vision to modernism and reading modernist literature as a literature of trauma, this book aims to show that the mad and schizophrenic nature of modernist narrative has both aesthetic and historical justification. Such a reading helps add a historical dimension to modernist stylistic devices in which modernist writers employ a peculiar form of non-linearity and a circular textual referentiality to represent history through the symptomology of trauma. This book will be particularly useful to professionals in modern literature and trauma studies, or anyone else who is interested in reading literature against/with history.