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A haunting and engaging debut from a talented Australian author. Sixteen-year-old Sunny Maguire is dreading the school holidays. She used to love visiting her grandmother's farm but ever since her mother died in a tragic car accident, Sunny doesn't feel at home anywhere anymore and the farm is a constant reminder of what she has lost. She knows it's going to be a long summer. Worse, she has to spend it with her distant stepfather, Kevin, the only 'family' she has left. On her return to the small town of Kelly's Crossing, Sunny is distracted by a new resident - Matthew Bright - and the disappearance of local teenager Dylan Koslovski. She gets involved in the search for Dylan along the mysterious Constant Creek Gorge, a beautiful location tainted by tragic drownings. Complications arise when Kevin becomes a suspect in the case and rumours begin to circulate. Sunny doesn't trust him and she's beginning to lose faith in herself, too, especially when she starts to see her mother's ghost.

The French writer and Nobel Literature laureate J. M. G. Le Clézio is one of the most translated authors in the world and widely considered a living legend of French literature. He also harbors a keen interest in Korea that not only prompted him to learn and master the Korean language on his own but also inspired his new novel. BITNA: UNDER THE SKY OF SEOUL is Le Clézio's portrait of Seoul--its people and its places--rendered with an intimate familiarity and attention to detail that few non-Korean writers, not to mention non-natives of Seoul, could replicate. It is a story of life in the city as it is being lived today.

The aim of this article is to explore the queer possibilities of the silence in the depiction of the protagonist’s love life in Agnes von Krusenstjerna’s Tony trilogy (1922–1926). The silence in the trilogy is manifested through absence: the theme of “ingenting” (nothing), the protagonist not speaking or acting, and the aesthetic that is created by interruptions in the protagonist’s dialogue, inner monologue, and narration. The analysis focuses on three passages: a depiction of an encounter between Tony and one of her suitors, her relative Frank Maclean, in Tonys läroår (Tony’s Apprenticeship, 1924); the ending of the trilogy in Tonys sista läroår (Tony’s Last Apprenticeship, 1926); and an epilogue to the trilogy, which was never included in it but later published in the second, expanded edition of En dagdriverskas anteckningar (The Notes of a Flâneuse, 1934). They are contextualised with references to the trilogy as a whole and compared to Krusenstjerna’s previous novels Ninas dagbok (The Diary of Nina, 1917) and Helenas första kärlek (Helena’s First Love, 1918). The method is a close reading with instead of against the grain, focusing on queer aspects of depictions of heterosexuality. It draws on theory belonging to the anti-social turn of queer studies and queer temporality studies. My conclusion is that Tony not speaking or acting can be read as anti-social feminism, with Tony as an anti-social feminist subject. Her queer life schedule can be interpreted as unbecoming woman. The “nothing,” and implicitly the creativity, that her passivity leads to accomplishes the opposite of patriarchal and chrononormative structures. The narrative and its ending are queer in the sense that they refuse to cohere and to fulfil demands for a happy, emancipatory ending.

The Anthology of Chinese Fictions on Adolescent Girls’ Psychology (2016) is one of the most renowned collections of girls’ stories in Chinese children’s literature. Authored by Qin Wenjun, Cheng Wei, and Chen Danyan, it is often associated with the rise of shaonǚ xiaoshuo (girls’ fiction) in China. In this article, I evaluate the collective writing practices of the women authors mentioned above, focusing, in particular, on how their featured stories address intergenerational dissent and explore models of communication between adolescent girls and women. Highlighting how The Anthology traverses the age divide in a time during which both children’s literature and the lives of teenagers underwent significant shifts, I intend to further scholarly understandings of Chinese girls’ fiction as a unique literary phenomenon.

Doctor's orders confine a woman suffering from anxiety and depression to her bedroom, in an effort to prevent mental stimulation of any sort. Despite her forced rest cure, she continues to write in her journal when her husband isn't looking. Her entries record her terrible and growing fascination with the hideous yellow wallpaper that dominates the room, documenting her slow descent into madness. This work by American author Charlotte Perkins Gilman was based on the author's own experiences. She knew firsthand that the nineteenth-century medical establishment often had dangerously misguided ideas about women's mental and physical health. It is considered to be a seminal feminist work by some, a prime example of Gothic horror by others. First published in 1892, this is an unabridged version of Gilman's controversial short story.

The Early American Women Writers series offers rare works of fiction by eighteenth- and nineteenth-century women, each reprinted it its entirety, each with a foreword by General Editor Cathy N.Davidson, who places the novel in a historical and literary perspective.

Girls' Series Fiction and American Popular Culture examines the ways in which young female heroines in American series fiction have undergone dramatic changes in the past 150 years, changes which have both reflected and modeled standards of behavior for America's tweens and teen girls. Though series books are often derided for lacking in imagination and literary potency, that the majority of American girls have been exposed to girls' series in some form, whether through books, television, or other media, suggests that this genre needs to be studied further and that the development of the heroines that girls read about have created an impact that is worthy of a fresh critical lens. Thus, this collection explores how series books have influenced and shaped popular American culture and, in doing so, girls' everyday experiences from the mid nineteenth century until now. The collection interrogates the cultural work that is performed through the series genre, contemplating the messages these books relay about subjects including race, class, gender, education, family, romance, and friendship, and it examines the trajectory of girl fiction within such contexts as material culture, geopolitics, socioeconomics, and feminism.

This case study discusses constraints related to the image of girlhood and gender roles evident in the abridged and adapted Swedish translation of L.M. Montgomery’s girls’ classic Emily of New Moon published in 1955by Gleerups. The 1950s are called the golden age of girls’ books in Sweden because their publication peaked during this period. However, the popularity of girls’ books during the 1950s did not correlate with high status. Adaptation of translations was common, which indicates the low status of the genre. The Swedish translation of Emily of New Moon was adapted for a younger target audience than Montgomery’s original, and abridged to a lower page count required by the publisher series in which the book was included. The publisher imposed didactic constraints on the book, and these constraints are a sign of conservative and protective strategies and authoritarian attitudes. The adaptation reflects what kind of books the publisher wanted to present to girls, and largely involves purification of unconventional behavior and sexuality. This was consistent with didactic translation norms, reflected in the origin of girls’ books in educational literature. The translation presents a clear, unambiguous and conventional model for the appropriate behavior of girls, and female characters represent more restrictive gender roles than in the original.

This paper examines Swedish translations of Lucy Maud Montgomery’s Anne of Green Gables (1908), a novel that has maintained the status of a children’s classic in the Scandinavian countries for more than a century. I explore the background conditions of this long-lasting reception by analyzing significant differences between source and target text within this series of translations. All the translations have been adapted to the context of their target culture in general and shaped to address an audience of young female readers in particular. Many of the interventions correspond to general patterns in translations for children and reflect contemporary assumptions about the needs of young readers: they emphasize domestication over foreignization and add clarifying comments and explanations to cultural elements unfamiliar to Swedish readers. Some minor inconsistencies point to turbulences within the translation process and highlight the low esteem for children’s fiction within the literary system. Other, more consistent changes can be attributed to programmatic decisions that affect the very premises of Anne of Green Gables. The handling of intertextual references and some major abridgements reveal a tendency to disambiguate the protagonist’s cross-over status between girlhood and adulthood, and clarify her often blurry position between the realms of imagination and reality. This results in the seemingly paradoxical result that the success of Anne of Green Gables in Sweden is founded on decisions that have narrowed down its literary scope.