Rita was an average American Housewife. She’d raised a son and been content with her life. Now as she prepared for her 25th anniversary her husband sent her divorce papers. When she thought it couldn’t get worse she discovered he had been laundering money for the mob and not only was the Justice Department looking for him, so was the Head of the Family, Antonio Franco. Coming face to face with Mr. Franco was both a nightmare and a dream. He was the most sensual man she had ever seen except for the small fact he was pointing a gun at her. Kidnapped from a busy restaurant, Rita was prepared for the worst fate she could imagine. She wasn’t prepared to fall so totally and completely in love.

From the glamorous world of opera to the underbelly of New York's seediest tenements, a page–turning rollercoaster ride of kidnappings, betrayals, /td/tr/table friendships, spies, bribes, hidden identities, and twisted intrigues ... By 1908, Francesca Frascatti has the opera world at her feet. A volatile Neapolitan diva, Francesca secretly aches with regret for having given up her daughter, Maria Grazia, on the road to stardom. Hearing that Maria has started a new life in America, Francesca tries to find her. By night, she sings Tosca; by day, she and Dante Romano, a detective posing as her lover, assume any guise necessary to search New York. Francesca must brave a sordid maze of spies, corrupt police officers and greedy hooligans to reach Maria Grazia before her cunning grandfather can whisk her off to his Italian estate, and away from her forever. At the opera house, Mina DiGianni, a gentle Italian lace maker from the Lower East Side, becomes Francesca's costume dresser and confidante. Mina is also haunted by her past. Caught between the joyful hope of new life growing inside her and the painful reality of her husband's abuse, Mina discovers new strengths and possibilities working for Francesca . and is bewildered to find herself falling in love with the diva's enigmatic lover, Dante. Mina and Francesca's worlds become ever more intertwined, and then collide in a shocking turn of events. Both women will face the greatest challenges of their lives: to finally lay their pasts to rest, and to embrace the present.

By Antonio Tabucchi, one of the most renowned voices in European literature and the foremost Italian writer of his generation, The Woman of Porto Pim is made up of enchanting, hallucinatory fragments that take place on the Azores Islands off the coast of Portugal. Told by a visiting Italian writer unearthing legends, relics and histories of the inhabitants, the tales shed light on a local restaurant proprietress's impossible love with an Azorean fisherman during WWII, a dazzling whaling expedition of eras past, shipwrecks both metaphorical and real, and a playful look at humankind from the perspective of a whale.

A sensational murder, trial, and a young woman's execution in Depression-era New York At first glance, the 1932 Easter morning murder of Salvatore "Sam" Antonio had all the trademarks of a gang-related murder. Shot five times, stabbed a dozen more, Antonio was left for dead. His body was rolled into a culvert on Castleton Road outside of Hudson, south of Albany, New York. It was only by chance that the mortally wounded Antonio was discovered and brought to the hospital. He died in the emergency room without ever naming his assailant. William H. Flubacher of the New York State Police arrived at the hospital minutes after Antonio succumbed and immediately began his investigation by questioning the victim's wife, Anna Antonio. The vague details she offered, coupled with her utter lack of shock or grief upon hearing of her husband's brutal murder, convinced Flubacher that something was amiss. Soon, as James M. Greiner tells us in this absorbing book, Anna was accused of hiring two drug dealers, Vincent Saetta and Sam Feraci, to kill her husband. In Greiner's description of the trial itself, he seeks to show how flaws in the judicial system, poverty, and prejudice around the Italian American community in Albany all played a part in Anna's conviction and death sentence. Perhaps no other woman on death row endured the mental anguish she experienced; her execution was postponed three times--once when walking to the electric chair. The first complete history of this historically significant case, A Woman Condemned draws upon newly discovered New York State Police records, volumes of court transcripts, and period newspapers, leading readers to wonder if justice was really served.

Even before the Depression, unemployment, low wages, substandard housing, and poor health plagued many women in what was then one of America's poorest cities--San Antonio. Divided by tradition, prejudice, or law into three distinct communities of Mexican Americans, Anglos, and African Americans, San Antonio women faced hardships based on their personal economic circumstances as well as their identification with a particular racial or ethnic group. Women of the Depression, first published in 1984, presents a unique study of life in a city whose society more nearly reflected divisions by the concept of caste rather than class. Caste was conferred by identification with a particular ethnic or racial group, and it defined nearly every aspect of women's lives. Historian Julia Kirk Blackwelder shows that Depression-era San Antonio, with its majority Mexican American population, its heavy dependence on tourism and light industry, and its domination by an Anglo elite, suffered differently as a whole than other American cities. Loss of migrant agricultural work drove thousands of Mexican Americans into the barrios on the west side of San Antonio, and with the intense repatriation fervor of the 1930s, the fear of deportation inhibited many Mexican Americans from seeking public or private aid. The author combines excerpts from personal letters, diaries, and interviews with government statistics to present a collective view of discrimination and culture and the strength of both in the face of crisis.

Women, Desire, and Power in Italian Cinema offers, for the first time in Italian Cinema criticism, a contextual study of the representation of women in twentieth-century Italian films. Marga Cottino-Jones argues that the ways women are depicted on screen reflects a subconscious "sexual conservatism" typical of an Italian society rooted within a patriarchal ideology. The book then follows the slow but constant process of social awareness in the Italian society through women in film, especially after the 1950s. Comprehensive in scope, this book analyzes the films of internationally known male and female directors, such as Antonioni, Fellini, Rossellini, Visconti, Bertolucci, Benigni, Cavani, Wertmuller, Comencini, and Archibugi. Special consideration is given to the actresses and actors that have become the icons of Italian femininity and masculinity, such as Sofia Loren, Gina Lollobrigida, Silvana Mangano, Gian Carlo Giannini, Marcello Mastroianni, and Alberto Sordi.

Much ink has been spilled over the men of the Mexican Revolution, but far less has been written about its women. Kathy Sosa, Ellen Riojas Clark, and Jennifer Speed set out to right this wrong in Revolutionary Women of Texas and Mexico, which celebrates the women of early Texas and Mexico who refused to walk a traditional path. The anthology embraces an expansive definition of the word revolutionary by looking at female role models from decades ago and subversives who continue to stand up for their visions and ideals. Eighteen portraits introduce readers to these rebels by providing glimpses into their lives and places in history. At the heart of the portraits are the women of the Mexican Revolution (1910–1920)⁠—women like the soldaderas who shadowed the Mexican armies, tasked with caring for and treating the wounded troops. Filling in the gaps are iconic godmothers⁠ like the Virgin of Guadalupe and La Malinche whose stories are seamlessly woven into the collective history of Texas and Mexico. Portraits of artists Frida Kahlo and Nahui Olin and activists Emma Tenayuca and Genoveva Morales take readers from postrevolutionary Mexico into the present. Portraits include a biography, an original pen-and-ink illustration, and a historical or literary piece by a contemporary writer who was inspired by their subject’s legacy. Sandra Cisneros, Laura Esquivel, Elena Poniatowska, Carmen Tafolla, and other contributors bring their experience to bear in their pieces, and historian Jennifer Speed’s introduction contextualizes each woman in her cultural-historical moment. A foreword by civil rights activist Dolores Huerta and an afterword by scholar Norma Elia Cantú bookend this powerful celebration of women who revolutionized their worlds.

One of the founding fathers of neorealism in the postwar period in Italy, Antonio Pietrangeli went on to focus his lens upon the female subject. Eight of his ten full-length films feature female protagonists. This study seeks to better understand both his achievements and his failings as a feminist auteur as well as analyse his films by applying new critical and theoretical approaches. Pietrangeli’s representations of women struggling with questions of identity was a revolutionary act in the 1950s and 1960s. The book makes a case why we should recuperate these films today since the standards for representing women in film continue to fall behind the reality of women’s lives off-screen.