Women are conspicuously absent from traditional cultural histories of south-east Europe. This book addresses that imbalance by describing the contribution of women to literary culture in the Orthodox/ Ottoman areas of Serbia and Bosnia. The first complete literary history in relation to women's writing in south-east Europe. The author provides a broad chronological account of this contribution, dividing the book into two main parts; the earlier period up until the eighteenth century concentrates on the projections of gender through the medium of oral tradition and the lives of a handful of educated women in medieval Serbia and the few works of literature they left. Hawkesworth also looks at the written literature produced by women, first in the mid-nineteenth century and then at the turn of the century. The second part focuses on the trials and tribulations that affected feminism and women's literature throughout the twentieth century. The author finishes by highlighting the new women's movement, 1975-1990, a great period for women in Yugoslavia which created a stimulating atmosphere for outstanding pieces of women's journalism, prose and verse, culminating in the creation of new women's studies courses in many universities.

All hardbacks in the first print run will be signed by the author. The story of genre fiction - horror, romantic fiction, science fiction, crime writing, and more - is also the story of Irish fiction. Irish writers have given the world Lemuel Gulliver, Dracula, and the world of Narnia. They have produced pioneering tales of detection, terrifying ghost stories and ground-breaking women's popular fiction. Now, for the first time, John Connolly's one volume presents the history of Irish genre writing and uses it to explore how we think about fiction itself. Deeply researched, and passionately argued, SHADOW VOICES takes the lives of more than sixty writers - by turns tragic, amusing, and adventurous, but always extraordinary - and sets them alongside the stories they have written, to create a new way of looking at genre and literature, both Irish and beyond. Here are vampires and monsters, murderers and cannibals. Here are female criminal masterminds and dogged detectives, star-crossed lovers and vengeful spouses. Here are the SHADOW VOICES.

Old ways are pitted against new horrors in this compellingly crafted, “atmospherically beautiful” (Kirkus Reviews) dystopian tale about a girl who is both healer and seer. Two hundred years from now, blood has become the most valuable commodity on the planet—especially the blood of aboriginal peoples, for it contains antibodies that protect them from the Plague ravaging the rest of the world. Sixteen-year-old Cassandra Mercredi might be immune to the Plague, but that doesn’t mean she’s safe—government forces are searching for those of aboriginal heritage to harvest their blood. When a search threatens Cassandra and her family, they flee to the Island: a mysterious and idyllic territory protected by the Band, a group of guerilla warriors—and by an enigmatic energy barrier that keeps outsiders out and the spirit world in. And though the village healer has taken her under her wing, and the tribal leader’s son into his heart, the creatures of the spirit world are angry, and they have chosen Cassandra to be their voice and instrument... Incorporating the traditions of the First Peoples as well as the more familiar stories of Greek mythology and Arthurian legend, Shadows Cast by Stars is a haunting, beautifully written story that breathes new life into ancient customs.

For Joe Lennox, successful young writer, Vienna provides a refuge from the tragedy of his brother¿s death, until he starts up a friendship with the eccentric India Tate and her magician husband Paul. Gradually Joe falls in love with India, but Paul finds out ¿ before he suddenly drops dread. And now Joe has two deaths on his conscience and another voice calling from beyond the grave . . .

A bold, lyrical collection of poems that highlight some of the most celebrated activists from around the world and throughout history. In the face of injustice, the world has always looked to brave individuals to speak up and spark change. Nelson Mandela used his voice to bring down Apartheid. Jane Goodall, Dian Fossey, and Birutè Galdikas gave a voice to the primates who couldn’t speak for themselves. The Women of Greenham Common used their collective voice to fight against preparations for nuclear war. And today’s youth—like Xiuhtezcatl Martinez, the students of Stoneman Douglas High School, and Greta Thunberg—unite their voices to stop gun violence, save the planet, and so much more. Through enlightening poems by award-winning poet and author George Ella Lyon and stunning portraits by artist Jennifer M. Potter, Voices of Justice introduces young readers to the groundbreaking work of people who fought—and continue to fight—to make the world a better place. Featuring those mentioned above along with Virginia Woolf, Dolores Huerta, Shirley Chisholm, Jasilyn Charger, Jeannette Rankin, and more, each portrait offers a vision of action and love that gets up and does something, no matter the forces ranged against it, no matter the odds.

Dark sound carries the dense cultural weight of darkness; it is the undertow of music that embodies melancholy, desire, grief, violence, rage, pain, loss and longing. Compelling and unnerving, dark sound immerses bodies in the darkest moments and delves into the depths of our hidden inner selves. There is a strangely perverse appeal about music that conjures intense affective states and about sound that can move its listeners to the very edge of the sayable. Through a series of case studies that include Moor Mother, Anna Calvi, Björk, Chelsea Wolfe and Diamanda Galás, D Ferrett argues that the extreme limits and transgressions of dark sound not only imply the limits of language, but are moreover tied to a cultural and historical association between darkness and the feminine within music and music discourse. Whilst the oppressive and violent associations between darkness and femininity are acknowledged, the author challenges their value to misogynistic, racist, capitalist and patriarchal power, showing how dark sound is charged with social, creative and political momentum.