Lara er en glad marihøne med mange venner. Men Lara vil helst se ut som alle de andre. Hvordan går det når hun prøver å være noe hun ikke er? En nydelig historie om det å være glad i seg selv, akkurat sånn man er.

Australians are often told that they should know more about Asia. They are urged to learn Asian languages, study Asian cultures, and adapt to Asian business practices. Yet it is often those doing the admonishing who know the least, and those they exhort to 'come to terms' with Asian countries who know the most. Much interaction takes place between Australians and Asians at an individual, not national, level. Throughout Australian history, more Australians have been attracted to Asia thanis usually recognised. Some sought to understand Asian traditions, some looked for new lifestyles, while others found stimulating sources of modernity. Mant projected their impressions through the arts. but the major cultural histories ignored them, or overlooked the Asian element in their work. Until well after the Pacific War, many Australian perceptions of Asia were still coloured by prejudice and fear. The Yellow Lady, a landmark study, is the first Australian cultural history thatdoesn't neglect Asia. It surveys the work of novelists, sculptors, film makers, composers, architects, poets, potters, playwrights, photographers and choreographers, and is required reading for anyone who seeks to understand Australia and its place in the Asia-Pacific hemisphere. This completely revised and expanded edition of The Yellow Lady contains material focusing on Australian-Asian hybridity in Literature, theatre and the visual arts. It carries the Australian experience of Asia forwardthrough the 1990s and considers the 'Asianisation' of urban Australian culture. Far from their isolationism of earlier decades, Australians at the end of the century are creating a hybrid culture that had no counterpart anywhere else.

The Yellow Lady is the first major critique of Australian impressions of Asia. Alison Broinowski argues that Australians have been backward in developing an appropriate image of themselves because of their ignorance of and ambivalence towards Asians. She traces the history of Australian ideas about Asia and the Pacific from pre-colonial time to the present, and concludes that some of these perceptions, no matter how irrational or archaic, continue to underlie the political and economic decisions Australians make about the Asia-Pacific region. No one has ever looked so exhaustively at Australian images of Asia. Alison Broinowski, a longtime diplomat and writer about Asian issues, identifies these images, where they come from, and how they have changed or not changed. She investigates artists who took an interest in Asia and why they did so. They include visual artists, novelists, film-makers, composers, architects, poets, potters, playwrights, photographers, puppeteers and choreographers. Japan receives the greatest attention as a continuing source of both modernity and tradition. Beginning with early Aboriginal contact with Indonesians, The Yellow Lady shows how chances for harmonious co-existence with the neighbourhood were lost in the colonial period. Successive wars set back this process of adaptation. In the final section, as increasing numbers of Asians migrate to Australia and Asian countries become economically dominant, Australian images of Asia undergo rapid change. Alison Broinowski argues that until Asia is accepted as part of the mainstream of Australian life, Australians will remain uncertain about their status, and that, if Australia's international image is to change, itmust begin by acknowledging the reality of Asia.

You've heard of the Woman in White and the Woman in Black, now meet The Lady in Yellow Approaching her nineteenth birthday, Veronica Everly is on a train heading to a stately home in the wilds of Yorkshire to take on her first job as governess to two motherless children, Jacques and Jacqueline, twins so identical that together they are called "Jack." The secretive nature of the housekeeper, Mrs. Twig, strange books in the library, and the increasingly weird, disturbing antics of the twins bring up Veronica's deepest fears. But when she meets the twins' father, the dark, handsome and stormy Rafe de Grimston, her fate seems sealed. Belden House is full of mysteries. An unseen bell tolls, wolves prowl the grounds, and under the full moon, a lady appears in a yellow gown whose eyes run red with blood. There is a curse on Belden House that drives Rafe de Grimston to despair. It has something to do with the old church in the forest, Saint Lupine's. It has even more to do with the lady in yellow...

From the New York Times bestselling author of House of Eve—a 2023 Reese’s Book Club Pick! *A Best Book of the Year by NPR and Christian Science Monitor* Called “wholly engrossing” by New York Times bestselling author Kathleen Grissom, this “fully immersive” (Lisa Wingate, #1 bestselling author of Before We Were Yours) story follows an enslaved woman forced to barter love and freedom while living in the most infamous slave jail in Virginia. Born on a plantation in Charles City, Virginia, Pheby Delores Brown has lived a relatively sheltered life. Shielded by her mother’s position as the estate’s medicine woman and cherished by the Master’s sister, she is set apart from the others on the plantation, belonging to neither world. She’d been promised freedom on her eighteenth birthday, but instead of the idyllic life she imagined with her true love, Essex Henry, Pheby is forced to leave the only home she has ever known. She unexpectedly finds herself thrust into the bowels of slavery at the infamous Devil’s Half Acre, a jail in Richmond, Virginia, where the enslaved are broken, tortured, and sold every day. There, Pheby is exposed not just to her Jailer’s cruelty but also to his contradictions. To survive, Pheby will have to outwit him, and she soon faces the ultimate sacrifice.

She has just given birth to their child. He labels her postpartum depression as »hysteria.« He rents the attic in an old country house. Here, she is to rest alone – forbidden to leave her room. Instead of improving, she starts hallucinating, imagining herself crawling with other women behind the room's yellow wallpaper. And secretly, she records her experiences. The Yellow Wall-Paper [1892] is the short but intense, Gothic horror story, written as a diary, about a woman in an attic – imprisoned in her gender; by the story. Charlotte Perkins Gilman's feminist novella was long overlooked in American literary history. Nowadays, it is counted among the classics. CHARLOTTE PERKINS GILMAN (1860–1935), born in Hartford, Connecticut, was an American feminist theorist, sociologist, novelist, short story writer, poet, and playwright. Her writings are precursors to many later feminist theories. With her radical life attitude, Perkins Gilman has been an inspiration for many generations of feminists in the USA. Her most famous work is the short story The Yellow Wall-Paper [1892], written when she suffered from postpartum psychosis.

Ornamentalism offers one of the first sustained and original theories of Asiatic femininity. Examining ornamentality, in lieu of Orientalism, as a way to understand the representation, circulation, and ontology of Asiatic femininity, this study extends our vocabulary about the woman of color beyond the usual platitudes about objectification.

Ambiguous and unsettling, Silko's "Yellow Woman" explores one woman's desires and changes--her need to open herself to a richer sensuality. Walking away from her everyday identity as daughter, wife and mother, she takes possession of transgressive feelings and desires by recognizing them in the stories she has heard, by blurring the boundaries between herself and the Yellow Woman of myth.

Yellow Woman and a Beauty of the Spirit is a collection of twenty-two powerful and indispensable essays on Native American life, written by one of America's foremost literary voices. Bold and impassioned, sharp and defiant, Leslie Marmon Silko's essays evoke the spirit and voice of Native Americans. Whether she is exploring the vital importance literature and language play in Native American heritage, illuminating the inseparability of the land and the Native American people, enlivening the ways and wisdom of the old-time people, or exploding in outrage over the government's long-standing, racist treatment of Native Americans, Silko does so with eloquence and power, born from her profound devotion to all that is Native American. Yellow Woman and a Beauty of the Spirit is written with the fire of necessity. Silko's call to be heard is unmistakable—there are stories to remember, injustices to redress, ways of life to preserve. It is a work of major importance, filled with indispensable truths—a work by an author with an original voice and a unique access to both worlds.