Yip Mann, an elderly spice farmer, should have known better than to purchase a fifteen-year-old cherry-girl as his concubine, especially one beautiful enough to be seen as Ch'ien Gum - comparable to a thousand pieces of gold. But surely he deserves such a plaything to give him the last of his sons. To Yip Mann's dismay, the wilful concubine dies bearing him a worthless girl-child. After her death he must make use of the girl as best he can: by binding her feet in the forbidden practice of the Golden Lotus, he can sell her for a higher price. But the daughter he names Li-Xia - Beautiful One - has the fighting spirit of her rebellious mother, escaping the crippling bandages: she knows her feet will be her freedom. And when they lead her into the path of a mysterious 'foreign devil', Li-Xia takes the first steps on a new and perilous journey . . .

An evocative, multi-generational tale of a family haunted by the death of a young concubine. For fans of Dinah Jefferies and Amy Tan. In 1930s Malaya a sixteen-year-old girl, dreaming of marriage to her sweetheart, is sold as a concubine to a rich old man desperate for an heir. Trapped, and bullied by his spiteful wife, Yu Lan plans to escape with her baby son, despite knowing that they will pursue her to the ends of the earth. Four generations later, her great-grandson, Nick, will return to Malaysia, looking for the truth behind the facade of a house cursed by the unhappy past. Nothing can prepare him for what he will find. This exquisitely rich novel brings to life a vanished world – a world of abandoned ghost houses, inquisitive monkeys, smoky temples and a panoply of gods and demons. A world where a poor girl can be sold to fulfil a rich man's dream. But though he can buy her body, he can never capture her soul, nor quench her spirit. WHAT READERS ARE SAYING: 'Compelling, atmospheric and emotional' 'Well-written, compelling... A tale of duty, treachery, misery and superstition' 'Wonderfully drawn characters, searing emotion, powerful intensity and nail-biting drama'.

"Carefully balancing cool observation and compassion, Chong writes extraordinary history and gives voice to the Chinese immigrant experience."--ALA Booklist.

A sweeping novel set in war-torn 1928 China, with a star-crossed love story at its center. In a city full of thieves and Communists, danger and death, spirited young Lydia Ivanova has lived a hard life. Always looking over her shoulder, the sixteen-year-old must steal to feed herself and her mother, Valentina, who numbered among the Russian elite until Bolsheviks murdered most of them, including her husband. As exiles, Lydia and Valentina have learned to survive in a foreign land. Often, Lydia steals away to meet with the handsome young freedom fighter Chang An Lo. But they face danger: Chiang Kai Shek's troops are headed toward Junchow to kill Reds like Chang, who has in his possession the jewels of a tsarina, meant as a gift for the despot's wife. The young pair's all-consuming love can only bring shame and peril upon them, from both sides. Those in power will do anything to quell it. But Lydia and Chang are powerless to end it.

Set in a remote village in Eastern Nigeria, an area yet to be affected by European values and where society is orderly and predictable, the story concerns a woman "of great beauty and dignity" who inadvertently brings suffering and death to all her lovers. The novel portrays a society still ruled by traditional gods, offering a glimpse into the human relationships that such a society creates.

In the Western imagination, the Middle Eastern harem was a place of sex, debauchery, slavery, miscegenation, power, riches, and sheer abandon. But for the women and children who actually inhabited this realm of the imperial palace, the reality was vastly different. In this collection of translated memoirs, three women who lived in the Ottoman imperial harem in Istanbul between 1876 and 1924 offer a fascinating glimpse "behind the veil" into the lives of Muslim palace women of the late nineteenth and early twentieth centuries. The memoirists are Filizten, concubine to Sultan Murad V; Princess Ayse, daughter of Sultan Abdulhamid II; and Safiye, a schoolteacher who instructed the grandchildren and harem ladies of Sultan Mehmed V. Their recollections of the Ottoman harem reveal the rigid protocol and hierarchy that governed the lives of the imperial family and concubines, as well as the hundreds of slave women and black eunuchs in service to them. The memoirists show that, far from being a place of debauchery, the harem was a family home in which polite and refined behavior prevailed. Douglas Brookes explains the social structure of the nineteenth-century Ottoman palace harem in his introduction. These three memoirs, written across a half century and by women of differing social classes, offer a fuller and richer portrait of the Ottoman imperial harem than has ever before been available in English.

Popular and academic representations of the free mulatta concubine repeatedly depict women of mixed black African and white racial descent as defined by their sexual attachment to white men, and thus they offer evidence of the means to and dimensions of their freedom within Atlantic slave societies. In The Mulatta Concubine, Lisa Ze Winters contends that the uniformity of these representations conceals the figure’s centrality to the practices and production of diaspora. Beginning with a meditation on what captive black subjects may have seen and remembered when encountering free women of color living in slave ports, the book traces the echo of the free mulatta concubine across the physical and imaginative landscapes of three Atlantic sites: Gorée Island, New Orleans, and Saint Domingue (Haiti). Ze Winters mines an archive that includes a 1789 political petition by free men of color, a 1737 letter by a free black mother on behalf of her daughter, antebellum newspaper reports, travelers’ narratives, ethnographies, and Haitian Vodou iconography. Attentive to the tenuousness of freedom, Ze Winters argues that the concubine figure’s manifestation as both historical subject and African diasporic goddess indicates her centrality to understanding how free and enslaved black subjects performed gender, theorized race and freedom, and produced their own diasporic identities.