Women Writing Cloth: Migratory Fictions in the American Imaginary argues that cloth-work serves as a textual signifier of mobility and preservation, constituting a revolt against a devaluation of cultural heritage and a distrust of the self. Bona develops a new framework for examining analogies between weaving and storytelling, the flow of needlework across place and time, women s labor and status, and the power of cloth-work as both means and metaphor for cultural reintegration across borders."

Women Writing Cloth: Migratory Fictions in the American Imaginary argues that cloth-work serves as a textual signifier of mobility and preservation, constituting a revolt against a devaluation of cultural heritage and a distrust of the self. Bona develops a new framework for examining analogies between weaving and storytelling, the flow of needlework across place and time, women's labor and status, and the power of cloth-work as both means and metaphor for cultural reintegration across borders.

Women Writing Cloth: Migratory Fictions in the American Imaginary performs a ground-breaking intervention by uncovering the relationship between literary cloth-working women and migration in a range of American novels across centuries. Bona demonstrates how four authors, Nathaniel Hawthorne, Alice Walker, Sandra Cisneros, and Adria Bernardi, innovate on pre-modern stories of weaving women in order to explore the intricate connections between handwork, resourcefulness, and mobility. Refracted through the lens of women’s migratory experiences vis-à-vis cloth-working aesthetics, Women Writing Cloth examines varied aspects of sewing—embroidering, quilting, and rebozo-making—as textual signifiers of mobility and preservation. Through authorial innovation,women’s handwork constitutes a revolt against a devaluation of cultural heritage and a distrust of the self. Women Writing Cloth argues that literary, cloth-working women inspire paradigmatic shifts in social codes due to portable skills that enabled their survival in the new world. Bona paints a complex picture of women whose migratory experiences taught them how to live within a stigmatizing culture and beneath institutional powers to control their artistry. Fabric designs assume fuller multicultural meaning when textiles cross borders and tell unspeakable stories that expose constraints typifying gender, race, and heritage. The authors examined simulate the artistic creativity of cloth-work by interrogating traditional assumptions about representation, chronology, and spatial boundaries. Women Writing Cloth breaks new ground to reveal the elaborate relationship between cloth-work expertise and women’s mobility. Variations of cloth-working women showcase a relationship between subversive artistry and institutional oppressions that compel strategies of resistance, enable survival, and, inspired by migration, construct inventive fabric creations. Women Writing Cloth engages the activity of cloth work as a means of reclamation and subversive expression represented in American literature.

"A fascinating history of…[a craft] that preceded and made possible civilization itself." —New York Times Book Review New discoveries about the textile arts reveal women's unexpectedly influential role in ancient societies. Twenty thousand years ago, women were making and wearing the first clothing created from spun fibers. In fact, right up to the Industrial Revolution the fiber arts were an enormous economic force, belonging primarily to women. Despite the great toil required in making cloth and clothing, most books on ancient history and economics have no information on them. Much of this gap results from the extreme perishability of what women produced, but it seems clear that until now descriptions of prehistoric and early historic cultures have omitted virtually half the picture. Elizabeth Wayland Barber has drawn from data gathered by the most sophisticated new archaeological methods—methods she herself helped to fashion. In a "brilliantly original book" (Katha Pollitt, Washington Post Book World), she argues that women were a powerful economic force in the ancient world, with their own industry: fabric.

From modern pop culture to anti-Blackness, faith and family, politics, education, creativity and working life; this anthology gives visibly Muslim women a space to speak. SPOILER ALERT: We won’t be answering the usual questions! Perceived as the visual representation of Islam, hijab-wearing Muslim women are nevertheless rarely afforded a platform on their own terms. Harangued by awkward questions, radical commentators sensationalising our existence, non-Muslims and non-hijabis making assumptions, men speaking on our behalf, or stereotypical norms being perpetuated by the same old faces, hijabis are tired. Cut from the Same Cloth? seeks to tip the balance back in our favour. Here, twenty-one women of all ages and races look beyond the tired tropes, exploring the breadth of our experience and spirituality. It’s time we, as a society, stop with the hijab-splaining and make space for the women who know. Essays by Negla Abdalla, Zahra Adams, Sabeena Akhtar, Mariam Ansar, Fatima Ahdash, Shaista Aziz, Suma Din, Khadijah Elshayyal, Ruqaiya Haris, Raisa Hassan, Fatha Hassan, Sumaya Kassim, Rumana Lasker Dawood, Suhaiymah Manzoor Khan, Asha Mohamed, Sofia Rehman, Yvonne Ridley Aisha Rimi, Khadijah Rotimi, Sophie Williams, Hodan Yusuf.

THE NEW YORK TIMES BESTSELLER Women in Clothes is a book unlike any other. It is essentially a conversation among hundreds of women of all nationalities—famous, anonymous, religious, secular, married, single, young, old—on the subject of clothing, and how the garments we put on every day define and shape our lives. It began with a survey. The editors composed a list of more than fifty questions designed to prompt women to think more deeply about their personal style. Writers, activists, and artists including Cindy Sherman, Kim Gordon, Kalpona Akter, Sarah Nicole Prickett, Tavi Gevinson, Miranda July, Roxane Gay, Lena Dunham, and Molly Ringwald answered these questions with photographs, interviews, personal testimonies, and illustrations. Even our most basic clothing choices can give us confidence, show the connection between our appearance and our habits of mind, express our values and our politics, bond us with our friends, or function as armor or disguise. They are the tools we use to reinvent ourselves and to transform how others see us. Women in Clothes embraces the complexity of women’s style decisions, revealing the sometimes funny, sometimes strange, always thoughtful impulses that influence our daily ritual of getting dressed.

NEW YORK TIMES BESTSELLER • A stunning “portrait of the enduring grace of friendship” (NPR) about the families we are born into, and those that we make for ourselves. A masterful depiction of love in the twenty-first century. NATIONAL BOOK AWARD FINALIST • MAN BOOKER PRIZE FINALIST • WINNER OF THE KIRKUS PRIZE A Little Life follows four college classmates—broke, adrift, and buoyed only by their friendship and ambition—as they move to New York in search of fame and fortune. While their relationships, which are tinged by addiction, success, and pride, deepen over the decades, the men are held together by their devotion to the brilliant, enigmatic Jude, a man scarred by an unspeakable childhood trauma. A hymn to brotherly bonds and a masterful depiction of love in the twenty-first century, Hanya Yanagihara’s stunning novel is about the families we are born into, and those that we make for ourselves. Look for Hanya Yanagihara’s latest bestselling novel, To Paradise.