Eugenia

This is the true crime account of the man known as Eugenia Falleni, who in 1920 was charged with the murder of his wife. Assigned female at birth, Eugenia Falleni lived in Australia for twenty-two years under the name Harry Crawford, and during that time officially married twice. He lived a full married life with his first wife, Annie, for four years before Annie realised that her husband was transgender. They continued to live together for eight months before they went on a bush picnic, when Annie mysteriously died. Her body was not identified for almost three years, and during this time Harry married again, this time to Lizzie. When Harry was finally arrested and charged with Annie's murder, the police attempted to tell Lizzie that her husband was biologically female. She laughed at them – she thought she was pregnant to him. This is the story of one of the most extraordinary criminal trials in legal history. The book traces Harry’s history: from being raised as a girl in an Italian immigrant family in New Zealand, to his brutal treatment when he first began living as a man, and his twenty-two years in Sydney including his two marriages. Finally, the trial of Eugenia Falleni for Annie's murder is extensively analysed by the author, Senior Crown Prosecutor Mark Tedeschi KC, one of Australia's foremost criminal law barristers. ‘Outstanding new true-crime … A grimly fascinating and extraordinary tale.’The Age ‘In the hands of NSW Senior Crown Prosecutor Mark Tedeschi, Eugenia’s story is gripping.’Australian Women’s Weekly ‘Tedeschi writes with a deep compassion ... and makes us all consider how fear, prejudice and ignorance can affect lives, even today.’Herald Sun

In early twentieth-century China, Chen Diexian (1879–1940) was a maverick entrepreneur—at once a prolific man of letters and captain of industry, a magazine editor and cosmetics magnate. He tinkered with chemistry in his private studio, used local cuttlefish to source magnesium carbonate, and published manufacturing tips in how-to columns. In a rapidly changing society, Chen copied foreign technologies and translated manufacturing processes from abroad to produce adaptations of global commodities that bested foreign brands. Engaging in the worlds of journalism, industry, and commerce, he drew on literati practices associated with late-imperial elites but deployed them in novel ways within a culture of educated tinkering that generated industrial innovation. Through the lens of Chen’s career, Eugenia Lean explores how unlikely individuals devised unconventional, homegrown approaches to industry and science in early twentieth-century China. She contends that Chen’s activities exemplify “vernacular industrialism,” the pursuit of industry and science outside of conventional venues, often involving ad hoc forms of knowledge and material work. Lean shows how vernacular industrialists accessed worldwide circuits of law and science and experimented with local and global processes of manufacturing to navigate, innovate, and compete in global capitalism. In doing so, they presaged the approach that has helped fuel China’s economic ascent in the twenty-first century. Rather than conventional narratives that depict China as belatedly borrowing from Western technology, Vernacular Industrialism in China offers a new understanding of industrialization, going beyond material factors to show the central role of culture and knowledge production in technological and industrial change.

How both logical and emotional reasoning can help us live better in our post-truth world In a world where fake news stories change election outcomes, has rationality become futile? In The Art of Logic in an Illogical World, Eugenia Cheng throws a lifeline to readers drowning in the illogic of contemporary life. Cheng is a mathematician, so she knows how to make an airtight argument. But even for her, logic sometimes falls prey to emotion, which is why she still fears flying and eats more cookies than she should. If a mathematician can't be logical, what are we to do? In this book, Cheng reveals the inner workings and limitations of logic, and explains why alogic -- for example, emotion -- is vital to how we think and communicate. Cheng shows us how to use logic and alogic together to navigate a world awash in bigotry, mansplaining, and manipulative memes. Insightful, useful, and funny, this essential book is for anyone who wants to think more clearly.

From imaginary numbers to the fourth dimension and beyond, mathematics has always been about imagining things that seem impossible at first glance. In x+y, Eugenia Cheng draws on the insights of higher-dimensional mathematics to reveal a transformative new way of talking about the patriarchy, mansplaining and sexism: a way that empowers all of us to make the world a better place. Using precise mathematical reasoning to uncover everything from the sexist assumptions that make society a harder place for women to live to the limitations of science and statistics in helping us understand the link between gender and society, Cheng's analysis replaces confusion with clarity, brings original thinking to well worn arguments - and provides a radical, illuminating and liberating new way of thinking about the world and women's place in it.

"From the author of The Calligrapher's Daughter comes the riveting story of two sisters, one raised in the United States, the other in South Korea, and the family that bound them together even as the Korean War kept them apart"--

Frances Sheridan’s Eugenia and Adelaide is an astonishing first novel of parental tyranny, infidelity, kidnap, blackmail, and violence played out over two volumes against the backdrop of continental Europe. The friendship of Eugenia and Adelaide endures in spite of their separation at the beginning of the novel and remains central to a complex yet coherently drawn web of intriguing tales situated in palatial apartments and remote moss-covered castles. Drawing upon the tragic and comic possibilities of disguise familiar to her from Shakespearean and Restoration drama, and influenced by the romantic entanglements of early prose fiction, Sheridan adopts a sometimes satirical approach to extraordinary events at the same time that she demonstrates a sincere and convincing commitment to the ingenious art of storytelling. Sheridan completed the novel in 1739 when she was just fifteen-years old and Eugenia and Adelaide would prove instrumental to the establishing of Sheridan’s literary reputation as one of the most successful novelists and dramatists of the mid-eighteenth century. This is the first modern edition of Eugenia and Adelaide to be published since the original posthumous publication of 1791 and presents a unique opportunity to explore Sheridan’s contribution to our current understandings of the history of women’s writing, and of reading tastes and practices in the long eighteenth century.

The title of this book is my middle name Eugenia and all my creations and pain I have endured in my life and in my dreams. I have daydreams and night dreams, some good, some bad, some perplexed, and some crazy. The pain is about deaths of my family, friends, neighbors, and people in the world. I can say that my title is Me* because I feel I'm a very confused and complicated person. (The title and Eugenia's creation's pain*.)