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Author: Lucy Bland

This book recounts the little-known history of the mixed-race children born to black American servicemen and white British women during the Second World War. Of the three million American soldiers stationed in Britain from 1942 to 1945, about 8 per cent (240,000) were African-American; the latter’s relationships with British women resulted in the birth of an estimated 2,000 babies. The African-American press named these children ‘brown babies’; the British called them ‘half-castes’. Black GIs, in this segregated army, were forbidden to marry their white girlfriends. Up to half of the mothers of these babies, faced with the stigma of illegitimacy and a mixed-race child, gave their children up for adoption. The outcome for these children tended to be long-term residency in children’s homes, sometimes followed by fostering and occasionally adoption, but adoption societies frequently would not take on ‘coloured’ children, who were thought to be ‘too hard to place’. There has been minimal study of these children and the difficulties they faced, such as racism in a (then) very white Britain, lack of family or a clear identity. Accessibly written and illustrated with numerous photographs, this book presents the stories of over forty of these children. While some of the accounts of early childhood are heart-breaking, there are also many uplifting narratives of finding American fathers and gaining a sense of self and of heritage.

Author: Zoë Thomas

Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.

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Ian Connor

focused on the expulsion of the expellees from their homelands, including a controversial work by Alfred de Zayas30 and a collection of essays edited by Philipp Ther and Ana Siljak.31 In addition, Coming Home to Germany?, a volume edited by David Rock and Stefan Wolff, contains several contributions on Connor_02_MainText.indd 3 10/8/07 12:36:09 4 Refugees and expellees in post-war Germany the integration of expellees in post-war Germany.32 Pertti Ahonen’s excellent monograph, After the Expulsion, published in 2004, analyses the interaction between the expellee

in Refugees and expellees in post-war Germany
Appropriation, dehumanisation and the rule of colonial difference
Samraghni Bonnerjee

. 8 See Kate Ariotti, Captive Anzacs: Australian POWs of the Ottomans during the First World War (Melbourne: Cambridge University Press, 2018); Santanu Das (ed.), Race, Empire and First World War Writing (New York: Cambridge University Press, 2011). 9 Romain Fathi and Bart Ziino, ‘Coming home: Australians’ sorties de guerre after the First World War’, History Australia , 16

in Exiting war
Open Access (free)
West Indian intellectual
Helen Carr

his Coming, Coming Home. Conversations II (St Martin: House of Nehesi, 2000), p. 24. 23 Stuart Hall, ‘The formation of a diasporic intellectual’, in David Morley and Kuan-Hsing Chen (eds), Stuart Hall: critical dialogues in cultural studies (London: Routledge, 1996), p. 501

in West Indian intellectuals in Britain
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Charlotte Yonge and the ‘martial ardour’ of ‘a soldier’s daughter’
Susan Walton

’s fictional exemplars Yonge depicted her first attempts at story writing as ‘perpetual dreams of romance … in which somebody was always being wounded in the Peninsular War and coming home with an arm in a sling’.39 Revering the military spirit of both her father and her uncle, Yonge perceived the perfect temperament to be one that combined contrasting elements: action and restraint, initiative and discipline, fortitude and gentleness. Although based on the moral fibre of soldiers, she believed such qualities were equally suitable for women and girls of all classes as well

in Martial masculinities
Ian Connor

_MainText.indd 15 10/8/07 12:36:10 16 Refugees and expellees in post-war Germany Notes 1 S. Wolff, ‘Introduction: From Colonists to Emigrants: Explaining the “Return-Migration” of Ethnic Germans from Central and Eastern Europe’, in Rock and Wolff (eds), Coming Home to Germany?, p. 5. 2 M. Frantzioch, Die Vertriebenen: Hemmnisse, Arbeitskräfte und Wege ihrer Integration in der Bundesrepublik Deutschland (Berlin 1987), p. 25. 3 Ibid., p. 31. 4 Wolff, ‘Introduction’, p. 5. 5 G. Ziemer, Deutscher Exodus: Vertreibung und Eingliederung von 15 Millionen Ostdeutschen

in Refugees and expellees in post-war Germany
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Family legacies: after abolition
Katie Donington

been there for centuries. I was coming home. I am the sugar at the bottom of the English cup of tea. I am the sweet tooth, the sugar plantations that rotted generations of English children’s teeth … That is the outside history that is inside the history of the English. There is no English history without that other history. 33

in The bonds of family
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Zoë Thomas

Making’, www.royalacademy. org.uk/article/magazine-ra250-female-invasion-women-at-the-ra, accessed 25 September 2018. Nevile Wallis, ‘Joan Hassall – The Charm of Wood Engraving’, Sphere (23 June 1956), p. 450. John Hassall designed posters such as ‘A Suffragette’s Home’ which portrays a man coming home after ‘a hard day’s work’ to find his children distressed and alone, the house a mess, and his wife having left a note, pinned on a ‘Votes for Women’ poster, saying she had gone out. Joan Hassall, ‘Introduction’, in Joan Hassall: Engravings and Drawings (ed.) David

in Women art workers and the Arts and Crafts movement
Lynne Attwood

enough space; but even when they did, women generally persisted in cooking separately for their own families on their own Primus stoves, turning the kitchen into a battleground as they competed for elbow room. Publications such as Rabotnitsa and Zhilishchnoe delo attempted to persuade them of the error of their ways. Rabotnitsa painted a rosy picture of the future: ‘Coming home from work, we will go to the dining room, have dinner, and be free from all superfluous worries so that we will be able to put our time to the greatest use for ourselves and the state.’12 It

in Gender and housing in Soviet Russia