Sakina is an embroidery artist growing up in the shanty town of Indian Nairobi, a railroad settlement in British East Africa in the early 1900s. At home there are many storytellers like her stepmother, grandfather and uncle whose stories blend into histories of India and East Africa that flare her child's imagination. In her tormented married life, while becoming a woman, Sakina finds comfort in the art of the beadwork of the Maasai.Bead Bai is one woman's story inspired by lives of Asian African women who sorted out, arranged and generally looked after huge quantities of ethnic beads in urban and isolated rural parts of the British East African Empire. The availability of wide varieties of beads and colours from the entrepreneurial Indian bead merchant reaching out to the most distant communities, heightened diverse vernacular expressions of body décor. Often it was the Bead Bai - the merchant's wife, mother and daughter, who handled beads that today comprise singularly the most significant material for maintenance of this feminine and indigenous art heritage of East Africa. This is a historical novel drawn from domestic and community lives evolving around women's art. Both are of considerable social and artistic values among two culturally unalike people living side by side as separate yet inter-reliant societies on the savannah. One object is the bandhani shawl of the Satpanth Ismailis, a trading settler Asian African community adhering austerely to a distinct faith tradition rooted in Sufism and Vedic beliefs that imbibed Sakina's spiritual life. The other is the emankeeki, a beaded neck to chest ornament of the Maasai, a pastoralist African people to whom the savannah is the ancestral home and source of their art, spirituality and well-being that Sakina came to value as a part her own life.Note: From the 1970s following the expulsion of Asians from Uganda, Satpanth Ismailis from East Africa began coming to the West, particularly to Canada, in large numbers. Many Bead Bais came with their families to the new country. Some lived through their senior years with their sons and daughters, and some died in nursing homes. Today their descendents live across the provinces of Canada and the greater Asian African diaspora.

A sword that could shatter the stars, a sword beam that could shatter the void, and a body of prideful bones that could trample the world; this was a world of experts. The young man, Shi Ling, walked out from here and stepped onto a path that belonged to him, the God Slaughtering Path.

Comprised of projects that appeared in Bead&Button magazine between October 2007 and August 2008, the 82 designs in this book have been thoroughly tested by the magazine’s readers and editors. The projects utilize a number of techniques, including stringing, wirework, chain mail, bead crochet, and loom weaving, and they are illustrated by 900 full-color, step-by-step photographic instructions.

If I were a god, there would be no evil under the heavens!If I become a demon, I'll slaughter all the gods!I am a Fiendgod. There is no longer any difference between the heavens and the earth!Stepping into the sky to become a god, purgatory to become a devil, all within a single thought!

Over the course of the twentieth century, Shia Ismaili Muslim communities were repeatedly displaced. How, in the aftermath of these displacements, did they remake their communities? Shenila Khoja-Moolji highlights women's critical role in this rebuilding process and breaks new ground by writing women into modern Ismaili history. Rebuilding Community tells the story of how Ismaili Muslim women who fled East Pakistan and East Africa in the 1970s recreated religious community (jamat) in North America. Drawing on oral histories, fieldwork, and memory texts, Khoja-Moolji illuminates the placemaking activities through which Ismaili women reproduce bonds of spiritual kinship: from cooking for congregants on feast days and looking after sick coreligionists to engaging in memory work through miracle stories and cookbooks. Khoja-Moolji situates these activities within the framework of ethical norms that more broadly define and sustain the Ismaili sociality. Jamat--and religious community more generally--is not a given, but an ethical relation that is maintained daily and intergenerationally through everyday acts of care. By emphasizing women's care work in producing relationality and repairing trauma, Khoja-Moolji disrupts the conventional articulation of displaced people as dependent subjects.

She was the proudest assassinator of the twenty-first century while she was killed by her senior brother unintentionally, and run across the time to the Jiu You Continent.The first thing she did upon opening eyes was climbing out of the pit. Because of her cowardice, cunning and foolishness, she had been bullied when she was little. Falling into the pit this time was because the Emperor granted her to marry Prince Xiang, which aroused the hostility from her fourth sister.However, at this moment, an aloof and arrogant man looked at her with disdain ...Unexpectedly, not long after, this aloof man said, "Once we have our own child, I will take up the world for you!"☆About the Author☆Er Ye is an online novelist. He started writing from 2017. Currently, there are two novels of his The Cold Prince Dotes On His Wild Wife and One Inch Affection with One Inch Ash.

Picking up corpses was not about the crematorium collecting corpses. It referred to the people who were drunk at the entrance of the nightclub. It was commonly known as Picking up corpses. I was a part-time nightclub waiter, but picking up corpses was another job for me, though not every time I picked up "corpses" they were drunk living people. Sometimes they really were.