The Women In Black

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.

“The book I most often give as a gift to cheer people up.” —Hilary Mantel “A deceptively smart comic gem.” –The New York Times Book Review “Witty and delicious.” –People The women in black, so named for the black frocks they wear while working at Goode’s department store, are busy selling ladies’ dresses during the holiday rush. But they somehow find time to pursue other goals… Patty, in her mid-thirties, has been working at Goode’s for years. Her husband, Frank, eats a steak for dinner every night, watches a few minutes of TV, and then turns in. Patty yearns for a baby, but Frank is always too tired for that kind of thing. Sweet, unlucky Fay wants to settle down with a nice man, but somehow nice men don’t see her as marriage material. Glamorous Magda runs the high-end gowns department. A Slovenian émigré, Magda is cultured and continental and hopes to open her own boutique one day. Lisa, a clever and shy teenager, takes a job at Goode’s during her school break. Lisa wants to go to university and dreams of becoming a poet, but her father objects to both notions. By the time the last marked-down dress is sold, all of their lives will be forever changed. A pitch-perfect comedy of manners set during a pivotal era, and perfect for fans of The Marvelous Mrs. Maisel, The Women in Black conjures the energy of a city on the cusp of change and is a testament to the timeless importance of female friendship.

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 wasted 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.

'Last week, I was sitting in seven layers (two of them thermal) next to a fire, with a blanket wrapped around me. Now, I am sleeping in kickers and a vest under a fan. Let the mosquitos bite me. They can have me ... Can we live here? ... If I don't become roadkill in the next few days, I'll let you know my thoughts.' In 2009, Sarah and John Alderson quit their full-time jobs in London and headed off, with Alula, their three-year-old daughter, on a global adventure to find a new home. For eight months, they travelled through Australia, the US and Asia - navigating India with a toddler in a tutu, battling black magic curses in Indonesia and encountering bears in North America - asking themselves one defining question: 'Can We Live Here?' Inspirational, hilarious and fascinating - this is an unforgettable travel memoir and a unique guide to quitting your job, following your dreams and finding your home in a far-flung paradise.

During a journey to visit his estranged sister, James Harper recalls his childhood in a mysterious valley cut off from the outside world, where he grew up as part of a cult called the Folded Valley Fellowship.In this seemingly idyllic world, the charismatic Benjamin Smiley claimed to be protecting his followers from an impending nuclear apocalypse.But the valley concealed a terrifying secret.A secret that would change Smiley's followers forever.

Originally published in 1982, All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave: Black Women's Studies is the first comprehensive collection of black feminist scholarship. Featuring contributions from Alice Walker and the Combahee River Collective, this book is vital to today's conversation on race and gender in America. With an afterword from Salon columnist Brittney Cooper. Coeditors Akasha (Gloria T.) Hull, Patricia Bell-Scott, and Barbara Smith are authors and former women's studies professors. Brittney Cooper is an assistant professor of women and gender studies and Africana studies at Rutgers University and a co-founder of the Crunk Feminist Collective.

GOLD MEDALIST OF FOREWORD REVIEWS' 2015 INDIEFAB AWARDS IN WOMEN'S STUDIES What's wrong with black women? Not a damned thing! The Sisters Are Alright exposes anti–black-woman propaganda and shows how real black women are pushing back against distorted cartoon versions of themselves. When African women arrived on American shores, the three-headed hydra—servile Mammy, angry Sapphire, and lascivious Jezebel—followed close behind. In the '60s, the Matriarch, the willfully unmarried baby machine leeching off the state, joined them. These stereotypes persist to this day through newspaper headlines, Sunday sermons, social media memes, cable punditry, government policies, and hit song lyrics. Emancipation may have happened more than 150 years ago, but America still won't let a sister be free from this coven of caricatures. Tamara Winfrey Harris delves into marriage, motherhood, health, sexuality, beauty, and more, taking sharp aim at pervasive stereotypes about black women. She counters warped prejudices with the straight-up truth about being a black woman in America. “We have facets like diamonds,” she writes. “The trouble is the people who refuse to see us sparkling.”

Black women are strong. At least that's what everyone says and how they are constantly depicted. But what, exactly, does this strength entail? And what price do Black women pay for it? In this book, the author, a psychologist and pastoral theologian, examines the burdensome yoke that the ideology of the Strong Black Woman places upon African American women. She demonstrates how the three core features of the ideology--emotional strength, caregiving, and independence--constrain the lives of African American women and predispose them to physical and emotional health problems, including obesity, diabetes, hypertension, and anxiety. She traces the historical, social, and theological influences that resulted in the evolution and maintenance of the Strong Black Woman, including the Christian church, R & B and hip-hop artists, and popular television and film. Drawing upon womanist pastoral theology and twelve-step philosophy, she calls upon pastoral caregivers to aid in the healing of African American women's identities and crafts a twelve-step program for Strong Black Women in recovery.