A stunning new collection of images and icons from the private world of S & M fantasy. The photographs are of women engaged in bdsm play - as dominatrices, bondage heroines, strict governesses, corrupt angels, and latex-clad Amazons. Dominatrices and their submissives act out their fantasies for the camera, not as passive objects for the voyeur's pleasure, but as women in full control of their own sexuality.

Joan Rhodes would leave audiences speechless as she bent steel bars with her teeth, ripped large phone books into quarters, and lifted two men at a time. But what she did was real. Joan had a superstrength, forged out of desperation to survive. Born into poverty in 1920s London and abandoned by her parents, Joan endured a spell in the workhouse. Despite the worst possible start, she made it to the top of her profession to rub shoulders with the likes of Fred Astaire, Bob Hope and Sammy Davis Jnr. Joan's crowning glory was to perform for the Queen at Windsor Castle, and along the way she made lifelong friendships with Marlene Dietrich, Quentin Crisp and Dame Laura Knight. Biographer Triona Holden met Joan in her later years. When Joan passed away, Triona set out to secure her friend's place in history. She appeared on the show The Repair Shop to tell the strongwoman's story, and sifted through archives to retrace her journey to stardom. Joan saw herself as a freak, but in truth she was a champion for the so-called fairer sex. At a time when women were still groomed for marriage, An Iron Girl in a Velvet Glove tells the fascinating and tumultuous story of a woman who followed her own unique path.

"First rule in this line of business: don't sleep with the client." My name's Kate Kane, and when an eight-hundred-year-old vampire prince came to me with a case, I should have told her no. But I've always been a sucker for a femme fatale. It always goes the same way. You move too fast, you get in too deep, and before you know it, someone winds up dead. Last time it was my partner. This time it could be me. Yesterday a werewolf was murdered outside the Velvet, the night-time playground of one of the most powerful vampires in England. Now half the monsters in London are at each other's throats, and the other half are trying to get in my pants. The Witch Queen will protect her own, the wolves are out for vengeance, and the vampires are out for, y'know, blood. I've got a killer on the loose, a war on the horizon, and a scotch on the rocks. It's going to be an interesting day.

Set against the harsh and gritty background of the Industrial Revolution, this is a story of poverty and star-crossed love, of sexual exploitation and deceit, of greed, murder and revenge. Luther Dearne has made a fortune wheeling and dealing with the wealthy ironmasters of South Riding, and by cheating the Swedish shippers who bring their iron to sell in England. Rich, powerful and apparently above the law, he has everything his heart desires - except children. When one day a woman turns up in the tavern with an orphaned little girl for sale, Luther does not hesitate, he buys her. Little does he know that Lissie, with her great beauty and mysterious origins, whom his wife hates at first sight, will prove to be both his greatest joy and his deepest heartache - and finally his undoing.

Crossing disciplinary and chronological boundaries, this volume integrates text and image, essays and object pages to explore the processes inherent in gender representation, rather than resituating women in particular categories or spheres as other scholarly publications and exhibitions have done. Taking its lead from the 'Picturing' Women project on which it reflects and builds, the volume makes a substantial methodological contribution to the analysis of gender discourse and visuality. It offers new and stimulating scholarship that confronts historical patterns of representation that have defined what women were and are seen to be, and presents new contexts for unveiling what art historian Linda Nochlin has called the 'mixed messages' of representations of women.