AN INSTANT #1 NEW YORK TIMES BESTSELLER! New from the New York Times, USA Today, and Wall Street Journal bestselling authors of The Confidence Code for Girls! The best way to understand confidence is to see it in action. That’s why bestselling authors Katty Kay, Claire Shipman, and JillEllyn Riley have collected 30 true stories of real girls, pursuing their passions, struggling and stumbling, but along the way figuring out how to build their own special brand of confidence. From Bali to Brazil, South Africa to Seattle, Australia to Afghanistan, these girls took risks, doubted themselves, and sometimes failed. But they also hung in there when things got hard. Along the way they discovered what matters to them: everything from protesting contaminated water to championing inclusive books to the accessibility of girls’ basketball shoes, and so much more. Different goals, different stories, different personalities, all illustrating the multitude of ways to be confident in the world. Packed with photos, graphic novel strips, and engaging interviews, Living the Confidence Code proves that no matter who you are, or how old you are, nothing is out of reach when you decide to try. Join this growing global community of powerful girls and imagine—what would you like to do, once you tap into your confidence? How will you write your story?

In The Mikado to Matilda: British Musicals on the New York Stage, Thomas Hischak provides an overview of British musicals that made their way to Broadway, covering their entire history up to the present day. This is the first book to look at the British musical theatre with reference to those London musicals that were also produced in New York City. The book covers 110 British musicals, ranging from 1750 to the present day, including the popular Gilbert and Sullivan comic operettas during the Victorian era, the Andrew Lloyd Webber mega-musicals of the late twentieth century, and today's biggest hits such as Matilda. Each London musical is discussed first as a success in England and then how it fared in America. The plots, songs, songwriters, performers, and producers for both the West End and the Broadway (or Off Broadway) production are identified and described. The discussion is sometimes critical, evaluating the musicals and why they were or were not a success in New York.

Working Girls: Fiction, Sexuality, and Modernity investigates the significance of a new form of sexual identity at the end of the nineteenth and beginning of the twentieth century. Young women of the lower-middle and working classes were increasingly abandoning domestic service in favour of occupations of contested propriety. They inspired both moral unease and erotic fascination. Working Girls considers representations of four highly glamorised yet controversial types of women worker: telegraphists and typists (in newly-feminised offices), shop assistants (in the new department stores), and barmaids (in the new 'gin palaces' of major British cities). Economically emancipated (more or less) and liberated (more or less) from the protection and constraints of home and family, shop-girls, barmaids, typists, and telegraphists became mass media sensations. They energised a wide range of late-Victorian and Modernist fiction. This study will bring late-Victorian and Modernist British writers into intimate conversation with a substantial new archive of ephemeral sources often regarded as remote from high art and its concerns: popular fiction; music hall and musical comedy; beauty pageants and fairground exhibitions; visual art and early film; careers manuals; magazine and periodical journalism; moral reform crusades, Royal Commissions, and attempts at protective legislation. Working Girls argues that these seductive yet perilous young women helped writers negotiate anxieties about the state of literary culture in the United Kingdom. Crucially, they preoccupy novelists who were themselves beleaguered by anxieties over cultural capital, the shifting pressures of the literary marketplace, or controversies about the morality of fiction (often leading to the threat of censorship). In articulating questions about sexual integrity, Working Girls articulate often submerged questions about textual integrity and the role of the modern novel.

Mary, a Korean girl growing up with her brother above her parents' convenience store in 1980s Toronto, is caught between the traditional culture of her parents and her desire to be a Canadian.

Sarah Kay's powerful spoken word poetry performances have gone viral, with more than 10 million online views and thousands more in global live audiences. In her second single-poem volume, Kay takes readers along a lyrical road toward empowerment, exploring the promise and complicated reality of being a woman. During her spoken word poetry performances, audiences around the world have responded strongly to Sarah Kay's poem The Type. As Kay wrote in The Huffington Post: "Much media attention has been paid to what it means to 'be a woman,' but often the conversation focuses on what it means to be a woman in relation to others. I believe these relationships are important. I also think it is possible to define ourselves solely as individuals... We have the power to define ourselves: by telling our own stories, in our own words, with our own voices." Never-before-published in book form, The Type is illustrated throughout and perfect for gift-giving.

"The Great Depression is raging across America and even the Vandermeers have fallen on hard times. In an attempt to stay afloat, Kay and her parents have started living in the guest cottage and getting Vandermeer Manor ready for renters. Money starts coming in when a mysterious man purchases some family heirlooms, but questions are raised when it comes to light that the wealthy benefactor has knowingly paid more money for the heirlooms than they are actually worth. Who is he, why does he want to help the Vandermeers, and what does he want in return?"--Back cover.

An imaginative and sensitive story of the life of the Phantom of the Opera; winner of the Boots Romantic Novel Award.

From the pre-Gilbert and Sullivan 1860s to the 1980s, this important reference surveys more than a century of British light musical theatre, including its writers and composers. Ganzl provides a wealth of information on the book, lyrics, and music of over 800 London musicals, including contemporary reviews, cast lists, performances, plus pertinent notes gleaned from a study of surviving scores and libretti. Volume 1 traces the development of the genre between 1865 and 1914, describing its roots in burlesque and opera-buffe, and discussing the comic opera tradition and the Gilbert and Sullivan partnership, the flowering of the so-called musical comedy under George Edwardes, and the important influence of the British musical theatre around the world, particularly in America. Volume 2 covers, among other topics, the reciprocal influences on the British musical theatre of the American style, the advent of the dance-and-laughter musicals of the 1930s, the rock operas of the 1970s, and the subsequent development of the modern British musical in its second period of international prominence, highlighted by such hits as Evita and Cats."