Roberta Gately’s lyrical and authentic debut novel—inspired by her own experiences as a nurse in third world war zones—is one woman’s moving story of offering help and finding hope in the last place she expected. Gripped by haunting magazine images of starving refugees, Elsa has dreamed of becoming a nurse since she was a teenager. Of leaving her humble working-class Boston neighborhood to help people whose lives are far more difficult than her own. No one in her family has ever escaped poverty, but Elsa has a secret weapon: a tube of lipstick she found in her older sister’s bureau. Wearing it never fails to raise her spirits and cement her determination. With lipstick on, she can do anything—even travel alone to war-torn Afghanistan in the wake of 9/11. But violent nights as an ER nurse in South Boston could not prepare Elsa for the devastation she witnesses at the small medical clinic she runs in Bamiyan. As she struggles to prove herself to the Afghan doctors and local villagers, she begins a forbidden romance with her only confidant, a charming Special Forces soldier. Then, a tube of lipstick she finds in the aftermath of a tragic bus bombing leads her to another life-changing friendship. In her neighbor Parween, Elsa finds a kindred spirit, fiery and generous. Together, the two women risk their lives to save friends and family from the worst excesses of the Taliban. But when the war waging around them threatens their own survival, Elsa discovers her only hope is to unveil the warrior within. Roberta Gately’s raw, intimate novel is an unforgettable tribute to the power of friendship and a poignant reminder of the tragic cost of war.

A moving and timely novel about human trafficking—from the author of the acclaimed debut Lipstick in Afganistan. Newly heartbroken and searching for purpose in her life, Abby Monroe is determined to make her mark as a UN worker in one of the world’s most unstable cities: Peshawar, Pakistan. But after witnessing the brutal murder of a woman thrown from a building, she is haunted by the memory of an intricate and sparkling bracelet that adorned the victim’s wrist. At a local women’s shelter, Abby meets former sex slaves who have miraculously escaped their captors. As she gains the girls’ trust and documents their horrifying accounts of unspeakable pain and betrayal, she joins forces with a dashing New York Times reporter who believes he can incriminate the shadowy leader of the vicious human trafficking ring. Inspired by the women’s remarkable bravery—and the mysterious reappearance of the bracelet— the duo traces evidence that spreads from remote villages of South Asia to the most powerful corners of the West, risking their lives to offer a voice to the countless innocents in bondage.

Through in-depth research and detailed historical context, Sonali Kolhatkar and James Ingalls report on the injustice of U.S. policies in Afghanistan historically and in the post-9/11 era. Drawing from declassified government documents and on-the-ground interviews with Afghan activists, journalists, lawyers, refugees, and students, Bleeding Afghanistan examines the connections between the U.S. training and arming of Mujahideen commanders and the subversion of Afghan democracy today. Bleeding Afghanistan boldly critiques the exploitation of Afghan women to justify war by both conservatives and liberals, analyzes uncritical media coverage of U.S. policies, and examines the ways in which the U.S. benefits from being in Afghanistan.

Latifa was born into an educated middle-class Afghan family in Kabul in 1980. She dreamed of one day of becoming a journalist, she was interested in fashion, movies and friends. Her father was in the import/export business and her mother was a doctor. Then in September 1996, Taliban soldiers seized power in Kabul. From that moment, Latifa, just 16 years old became a prisoner in her own home. Her school was closed. Her mother was banned from working. The simplest and most basic freedoms - walking down the street, looking out a window - were no longer hers. She was now forced to wear a chadri. My Forbidden Face provides a poignant and highly personal account of life under the Taliban regime. With painful honesty and clarity Latifa describes the way she watched her world falling apart, in the name of a fanatical interpretation of a faith that she could not comprehend. Her voice captures a lost innocence, but also echoes her determination to live in freedom and hope. Earlier this year, Latifa and her parents escaped Afghanistan with the help of a French-based Afghan resistance group.

Roberta Gately is a nurse and humanitarian aid worker who has served in war zones ranging from Africa to Afghanistan aiding refugees. Just the word refugee sparks conversation and fuel emotion. There are more than 22 million refugees worldwide and another 65 million who have been forcibly displaced. But who are these people? Images filter into our consciousness via dramatic photographs—but these photos only offer a glimpse into their stories. Footprints in the Dust aims to share the real stories of these refugees in hopes of revealing the truth about their experience. As a young ER nurse in Boston, Roberta was stopped cold by stark images of big-bellied babies with empty haunting stares in the news. She called the aid organization featured in the news story and within two months, she was on her way. Roberta would soon learn that world into which millions of children around the globe were born was fraught with unspeakable horrors. The only certainties for so many of these children were, and remain to this day—disease and devastating injury.Footprints in the Dust reveals the humanity behind the headlines, beginning where the newscasters end their reports. The people we meet within this riveting book are neither all saints nor all sinners—and impossible to forget.

After the attacks of September 11, 2001, the plight of Afghan women under Taliban rule was widely publicized in the United States as one of the humanitarian issues justifying intervention. Kabul Carnival explores the contradictions, ambiguities, and unintended effects of the emancipatory projects for Afghan women designed and imposed by external organizations. Building on embodiment and performance theory, this evocative ethnography describes Afghan women's responses to social anxieties about identity that have emerged as a result of the military occupation. Offering one of the first long-term on-the-ground studies since the arrival of allied forces in 2001, Julie Billaud introduces readers to daily life in Afghanistan through portraits of women targeted by international aid policies. Examining encounters between international experts in gender and transitional justice, Afghan civil servants and NGO staff, and women unaffiliated with these organizations, Billaud unpacks some of the paradoxes that arise from competing understandings of democracy and rights practices. Kabul Carnival reveals the ways in which the international community's concern with the visibility of women in public has ultimately created tensions and constrained women's capacity to find a culturally legitimate voice.

The “exquisite and richly illustrated” New York Times bestseller from the renowned makeup artist, “a retrospective written for all women, everywhere” (Vogue France). Makeup, as we know it, has only been commercially available in the last 100 years, but applying decoration to the face and body may be one of the oldest global social practices. In Face Paint, Lisa Eldridge reveals the entire history of the art form, from Egyptian and Classical times up through the Victorian age and golden era of Hollywood, and also surveys the cutting-edge makeup science of today and tomorrow. Face Paint explores the practical and idiosyncratic reasons behind makeup’s use, the actual materials employed over generations, and the glamorous icons that people emulate, it is also a social history of women and the ways in which we can understand their lives through the prism and impact of makeup. “Makeup artist and Lancome global creative director Lisa Eldridge drops serious knowledge in Face Paint, her book on the history of beautifying.” —Marie Claire “Clear your coffee table and turn off YouTube—Lisa Eldridge’s book is a must read.” —Teen Vogue “The book is not only rich with history but also with a series of paintings, sketches and photographs in an intense array of colors, selected by the make-up artist herself in the most aesthetically pleasing universal statement to women you’ll ever see.” —Vogue France “Face Paint delves into the history of makeup, with glossy pictures to match . . . the book’s cover is striking.” —New York Post