When 11-year-old Indigo and her older brother Robin arrive in South Africa to stay with their father, they find a luxury lifestyle that is a world away from their modest existence back in England. But Indigo is uneasy in the foreign landscape and confused by the family's silence surrounding her mother's recent death. Unable to find solace in either new or old faces, she begins to harbour violent suspicions in place of the truth. Steeped in the dry heat of a South African summer, this keen and touching debut seamlessly interweaves the voices of Indigo and her mother, and beautifully captures the human desire to belong: in a family, in a country, in your own skin.

This groundbreaking collection offers a complicated portrait of girls in the 21st Century. These are the riot grrls and the Spice Girls, the good girls and the bad girls who are creating their own "girl" culture and giving a whole new meaning to "grrl" power. Featuring provocative essays from leaders in the field like Michelle Fine, Angela McRobbie, Valerie Walkerdine, Nancy Lesko, Niobe Way and Deborah Tolman, this work brings to life the ever-changing identities of today's young women. The contributors cover all aspects of girlhood from around the world and strike upon such key areas as schooling, sexuality, popular culture and identity. This is new scholarship at its best.

A guide for women on how to protect oneself from violence offers information on keeping safe in a wide variety of situations and includes advice on self-defense products, Internet safety, and workplace violence.

The Girl from Sighet a memoir In 1944, Hindi Friedman's idyllic childhood in the Transylvanian Carpathian Mountains abruptly ended when German troops invaded her beloved hometown of Sighet. This memoir, written in the style of a novel, chronicles Hindi and her family's confinement in the town's ghetto, their transport in a suffocating cattlecar to Auschwitz, and the subsequent heroic struggle to survive the inhumane conditions of the concentration camp. After Russian soldiers liberated Hindi and her sister from a labor camp in the Czech Republic, the young girls immediately faced a harsh new reality. Their liberators were now the enemy. Weak and hungry, the girls escape by foot over the Czech mountains to avoid the savagery of the Russian soldiers. Two years after the war ended, Hindi was again on the run. Trapped in communist Romania, she escaped into Austria and eventually to her new home in America. This epic memoir spans seventy years, transporting the reader from shtetl life through war-torn Europe to the American suburbs of the fifties and on to the present, allowing us to partake in a remarkable journey from death and despair to hope and rebirth.

DigiCat Publishing presents to you this special edition of "An English Girl's First Impressions of Burmah" by Beth Ellis. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Movie-Struck Girls examines women's films and filmgoing in the 1910s, a period when female patronage was energetically courted by the industry for the first time. By looking closely at how women were invited to participate in movie culture, the films they were offered, and the visual pleasures they enjoyed, Shelley Stamp demonstrates that women significantly complicated cinemagoing throughout this formative, transitional era. Growing female patronage and increased emphasis on women's subject matter did not necessarily bolster cinema's cultural legitimacy, as many in the industry had hoped, for women were not always enticed to the cinema by dignified, uplifting material, and once there, they were not always seamlessly integrated in the social space of theaters, nor the new optical pleasures of film viewing. In fact, Stamp argues that much about women's films and filmgoing in the postnickelodeon years challenged, rather than served, the industry's drive for greater respectability. White slave films, action-adventure serial dramas, and women's suffrage photoplays all drew female audiences to the cinema with stories aimed directly at women's interests and with advertising campaigns that specifically targeted female moviegoers. Yet these examples suggest that women's patronage was built with stories focused on sexuality, sensational thrill-seeking, and feminist agitation, topics not normally associated with ladylike gentility. And in each case concerns were raised about women's conduct at cinemas and the viewing habits they enjoyed, demonstrating that women's integration into motion picture culture was not as smooth as many have thought.