Alma, Kitty and Hattie have one thing in common. The men that they love and married are in prison. Wives visit their men behind bars every day and wonder how their lives brought them to this place. This story focuses on three of these women. Alma is an exotic dancer who seems, at first glance, to be a bit of a nitwit. But on closer inspection she has a street-smart wisdom and humor. Hattie is a hard working African American with four children who is trying to keep her family together. Then there is Kitty, a wealthy socialite, who in spite of the shame and embarrassment of visiting a prison where her husband refuses to see her, doggedly visits every other week. In a series of flash backs we see these women when they lived normal lives with their husbands and children. The plot explodes when Chelsea, Alma and Charlie's daughter, disappears. One visiting day something happens that will change each of their lives forever as the visiting room erupts with violence and heartbreak. This story is based in truth and was inspired while the author was at the Dixon Correctional Facility in Dixon, Illinois, waiting to visit a confessed murderer. It was heart breaking to observe the women and children waiting to see their husbands, fathers, sons and brothers who might be incarcerated for a few months or for life.

'I am hungry for your presence. I hanker for the great blaze of your glance which when you turn it on me, will burn out the husk of my body and draw my soul to you.' Julia O'Faolian's second novel, first published in 1973, offers a rich, vivid portrait of the political and religious turmoil of sixth-century Gaul, wherein we find Radegunda, wife of King Clotair having been seized by him as a prize of war. Radegunda builds a convent, a refuge for the Brides of Christ, and there becomes renowned for her austerity and mysticism. Her religion, however, is fanatical, and her quest for sainthood will serve to undermine the seeming calm of the retreat she has made. 'Vibrant and strange... [a] journey into a darker, wilder moment of history.' Sarah Dunant, Guardian

Women at the Wall is the first ethnographic study of how the arrest, trial, imprisonment, and release of male criminals affects their families, particularly their wives. It relies on first-person accounts by prisoners' wives, providing details about the changing texture of their marital relationships and the accompanying stigmatization. From this book we learn about the effects of enforced spousal separation, and the control husbands maintain even during incarceration. We also learn that wives devise ingenious interpretations and explanations regarding their husbands' criminality, and how they attempt to establish stable, conventional lives for themselves while supporting their husbands through the various stages of the criminal justice system. These women reveal not only their hardships and losses, but also their resourcefulness in coping with their husbands' criminality, their families and friends, and the prison system itself.

Lucy Acosta's mother died when she was three. Growing up in a Victorian mansion in the middle of the woods with her cold, distant father, she explored the dark hallways of the estate with her cousin, Margaret. They're inseparable—a family. When her aunt Penelope, the only mother she's ever known, tragically disappears while walking in the woods surrounding their estate, Lucy finds herself devastated and alone. Margaret has been spending a lot of time in the attic. She claims she can hear her dead mother's voice whispering from the walls. Emotionally shut out by her father, Lucy watches helplessly as her cousin's sanity slowly unravels. But when she begins hearing voices herself, Lucy finds herself confronting an ancient and deadly legacy that has marked the women in her family for generations.

A haunting feminist sci-fi masterpiece and international bestseller that is “as absorbing as Robinson Crusoe” (Doris Lessing) While vacationing in a hunting lodge in the Austrian mountains, a middle-aged woman awakens one morning to find herself separated from the rest of the world by an invisible wall. With a cat, a dog, and a cow as her sole companions, she learns how to survive and cope with her loneliness. Allegorical yet deeply personal and absorbing, The Wall is at once a critique of modern civilization, a nuanced and loving portrait of a relationship between a woman and her animals, a thrilling survival story, a Cold War-era dystopian adventure, and a truly singular feminist classic.

Twenty percent of all women coming into the New York state prison system either have AIDS or are HIV positive. In response to this very real scenario, a group of inmates at the women's prison at Bedford Hills, New York, created the A.C.E. (AIDS Counseling and Education) Program. This book documents the A.C.E. Program from its beginnings, recorded in the women's own voices, and details nine workshops that anyone can use. 35 illustrations and photos.

"Wall's writing is lively and exuberant. She passes her enthusiasm for these writers' works on to the reader. She captures the mood of the times and follows through with the writers' evolution -- sometimes to success, other times to isolation.... Women of the Harlem Renaissance is a rare blend of thorough academic research with writing that anyone can appreciate." -- Jason Zappe, Copley News Service "By connecting the women to one another, to the cultural movement in which they worked, and to other early 20th-century women writers, Wall deftly defines their place in American literature. Her biographical and literary analysis surpasses others by following up on diverse careers that often ended far past the end of the movement. Highly recommended... "Â -- Library Journal "Wall offers a wealth of information and insight on their work, lives and interaction with other writers... strong critiques... " -- Publishers Weekly The lives and works of women artists in the Harlem Renaissance -- Jessie Redmon Fauset, Nella Larsen, Zora Neale Hurston, Bessie Smith, and others. Their achievements reflect the struggle of a generation of literary women to depict the lives of Black people, especially Black women, honestly and artfully.