The representation of sexual trafficking in the book of Esther has parallels with the cultural memories, histories, and materialized pain of African(a) girls and women across time and space, from the Persian Empire, to subsequent slave trade routes and beyond. Trafficking Hadassah illuminates that Africana female bodies have been and continue to be colonized and sexualized, exploited for profit and pleasure, causing adverse physical, mental, sexual, socio-cultural, and spiritual consequences for the girls and women concerned. It focuses on sexual trafficking both in the biblical book of Esther and during the transatlantic slave trade to demonstrate how gender and racism intersect with other forms of oppression, including legal oppression, which results in the sexual trafficking of African(a) females. It examines both the conditions and mechanisms by which the trafficking of the virgin girls (who are collectively identified) are legitimated and normalized in the book of Esther, alongside contemporary histories of Africana females. This important book examines ideologies and stereotypes that are used to justify the abuse in both contexts, challenges the complicity of biblical readers and interpreters in violence against girls and women, and illustrates how attention to the nameless, faceless African girls in the text is impacted by the #MeToo and #SayHerName social movements. This book will be of particular interest to those studying the Bible, religion, gender, theology, and sex trafficking. It is also an important book for those in the related fields of Africana Studies, Trauma Studies, Post-Colonial Studies, Diaspora Studies, Critical Race Studies, as well as to the general reader.

Trafficking Hadassah illuminates that Africana female bodies have been and continue to be colonized and sexualized, exploited for profit and pleasure, causing adverse physical, mental, sexual, socio-cultural, and spiritual consequences for the girls and women concerned.

“In The Third Daughter, Talia Carner ably illuminates a little-known piece of history: the sex trafficking of young women from Russia to South America in the late 19th century. Thoroughly researched and vividly rendered, this is an important and unforgettable story of exploitation and empowerment that will leave you both shaken and inspired.” —Pam Jenoff, New York Times bestselling author of The Lost Girls of Paris The turn of the 20th century finds fourteen-year-old Batya in the Russian countryside, fleeing with her family endless pogroms. Desperate, her father leaps at the opportunity to marry Batya to a worldly, wealthy stranger who can guarantee his daughter an easy life and passage to America. Feeling like a princess in a fairytale, Batya leaves her old life behind as she is whisked away to a new world. But soon she discovers that she’s entered a waking nightmare. Her new “husband” does indeed bring her to America: Buenos Aires, a vibrant, growing city in which prostitution is not only legal but deeply embedded in the culture. And now Batya is one of thousands of women tricked and sold into a brothel. As the years pass, Batya forms deep bonds with her “sisters” in the house as well as some men who are both kind and cruel. Through it all, she holds onto one dream: to bring her family to America, where they will be safe from the anti-Semitism that plagues Russia. Just as Batya is becoming a known tango dancer, she gets an unexpected but dangerous opportunity—to help bring down the criminal network that has enslaved so many young women and has been instrumental in developing Buenos Aires into a major metropolis. A powerful story of finding courage in the face of danger, and hope in the face of despair, The Third Daughter brings to life a dark period of Jewish history and gives a voice to victims whose truth deserves to finally be told.

The Bible and Modern British Drama: 1930 to the Present Day is the first full-length study to explore how playwrights in the modern period have adapted popular biblical stories, such as Abraham and Isaac, Moses and the Exodus from Egypt, and the life and death of Jesus, for the stage. The book offers detailed and accessible interpretations of the work of well-known dramatists such as Christopher Fry, Howard Brenton, and Steven Berkoff, alongside the work of writers whose plays have been neglected in recent criticism, such as James Bridie and Laurence Housman. The drama is analysed within the context of changes in religious belief and practice over the course of the modern period in Britain, comparing plays that approach the Bible from a traditional religious perspective with those that offer alternative viewpoints on the text, including the voices of gay, feminist, black, Jewish, and Muslim dramatists. In doing so, the author offers a broad and in-depth exploration that is grounded in current scholarship, ranging from the past to present, across boundaries of race and gender. Ideal for students, researchers, and general readers interested in understanding how the Bible has served as an important source text for British playwrights in the twentieth and twenty-first centuries, The Bible and Modern British Drama shows how Bible-based drama has been influential in creating and disseminating ideas of what constitutes a "good" life, both on an individual and social level.

As #MeToo and its sister movement #ChurchToo demonstrated, sexual violence is systemic in many and varied workplace settings, including Christian churches, and can destroy women’s careers and vocational aspirations. The study draws on empirical evidence – personal stories from survivors and the views of church leaders and educators – in dialogue with theoretical perspectives, to consider clergy sexual abuse of adult women and the conditions that support it. Institutional abuse only changes when survivors come forward. This study focusses on New Zealand Anglicanism, the locus of the author’s experience, and has resonance for a range of denominational settings. It aims to be a useful resource to clergy, ministry educators, and those training for ministry, and to academics and scholars with an interest in theology, gender, and professional ethics. Notably, it will be a potentially helpful text for women survivors of sexual misconduct by clergy, not least those who are considering a future in the church or grieving the loss of one. The volume concludes by suggesting that alternative theological models and relational ethics are essential if the church is to truly address the problem of clergy sexual abuse and give greater priority to the abused.

Feminist practical theology has emerged in the gap between wider feminist and wider practical theology. It celebrates distinctive concerns, arguments, emphases, and questions – unafraid to re-form practical theology in shape and substance, and to guide feminist theology towards the silences and stories of human lives that some professional theologies (including those shaped by feminist commitments) sometimes overlooks. Feminist practical theology is bold in exploration of doctrinal themes in poetic and prayerful modes, characteristically collaborative and in search of alliances with other advocacy perspectives. In the UK, such commitments have been exemplified by Nicola Slee, whom this volume honours. Chapters invite readers into wide ranging conversations that flow from young women’s experiences at university, poetic practice as theology, queer priesthood, theologies of critical masculinities, women presiding in worship, Black and decolonial theologies adjacent to feminist convictions, confrontations with sexual violence, rest and rewilding, and a post-menopausal Mary. Contributors are: Al Barrett, Gavin D’Costa, Deborah Kahn-Harris, Michael N. Jagessar, Sharon Jagger, Rachel Mann, Jenny Morgans, Eleanor Nesbitt, Karen O’Donnell, Mark Pryce, Anthony G. Reddie, Ruth Shelton and Alison Wooley.

Narrating Rape presents exciting new scholarship on how to read, wrestle with, and respond to sexual violence and rape in and around biblical texts. The fourteen essays represent global contributors and bring together respected senior scholars along with fresh emerging voices. Contributors take on sexual violence in the Hebrew Bible and the New Testament, as well as the ancient Near Eastern and Roman contexts that informed the production of these texts. There is also a significant focus on using contemporary literature, film, and popular culture (including reality television and music) to read and interpret biblical rape stories. Contributors include: Alexiana Fry, Meredith Warren, Kirsi Cobb, David Tombs, Jeremy Punt, and Gerald West