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About Sarah Smith
Not surprisingly, her first three novels are set in the Victorian and Edwardian period: THE VANISHED CHILD, THE KNOWLEDGE OF WATER, and A CITIZEN OF THE COUNTRY. Two were named NEW YORK TIMES Notable Books and one a Waterstone's Best Mystery of the Year. They also have made numerous other Best of the Year lists and regional and national bestseller lists, and have been published in 12 languages.
Her newest book returns to the Edwardian period, to Titanic--but with a multicultural difference. In CRIMES AND SURVIVORS, a young married woman discovers that her grandfather, whom she barely knows, may be passing as white. This is 1912, the height of Jim Crow. She has a family, a husband, a son, brothers and sisters. She's experienced prejudice before--and she won't wish it on her family. But she wants to know the truth...
Her first novel for young adults, THE OTHER SIDE OF DARK, is about ghosts, interracial romance, and a secret kept since slavery times. It has won both the Agatha for best YA mystery and the Massachusetts Book Award for best YA book.
The Shakespeare authorship controversy forms the center of her modern standalone novel, CHASING SHAKESPEARES, which Samuel R. Delany has called "the best novel about the Bard since NOTHING LIKE THE SUN." Two young graduate students together find a letter by one W. Shakespeare of Stratford saying he didn't write the plays. Posy Gould, from Harvard, wants the letter to start her career; Joe Roper, from Northeastern, wants to save Shakespeare--and Posy is going to give him only a week to do it. CHASING SHAKESPEARES is being made into a play.
While writing CHASING SHAKESPEARES, Sarah herself found a major document in the Shakespeare authorship controversy, a new long poem by Edward de Vere, Earl of Oxford and the other major Shakespeare claimant. Mark Anderson says of it, "Sarah Smith has effectively added a whole new work to the Shakespeare canon." A NEW SHAKESPEAREAN POEM is published separately with Sarah's introduction and notes.
Sarah has also written science fiction and horror, novels meant to be read on the computer, and several nonfiction books. She lives near Boston with her (multicultural) family.
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You have a husband, a child, a family. You can't be black. You don't know how.
You follow him onto the newest, safest, biggest ship in the world. You plead with him to tell you the truth.
But after the iceberg, you find the truth is far more complicated than you thought. And more dangerous...
Meet Joe Roper, tough-minded young graduate student, who has been lucky enough to land a job cataloging the famed Kellogg Collection of Elizabethan texts and curiosities. Joe's been passionate about Shakespeare since he read a duct-taped paperback at age nine and found the witches, warriors, murders, and ghosts as much fun as Stephen King, but his working-class roots make him a fish out of water in the academic world. He is seemingly as far from adventure as it's possible to be -- until the delicious Posy Gould enters, stage right. A glamorous rising star at Harvard, she insists that a letter Joe has found, signed by one
W. Shakespeare of Stratford, is a career-making discovery for them both -- because the letter says Shakespeare didn't write the plays.
To Joe's mind, the letter is a forgery. When Posy insists they test it, the two literary sleuths head for England to prove their clashing theories. But they find themselves in a world where the London Eye looks out over Shakespeare's city, Hollywood producers rub elbows with Elizabethan spies, and mystery shadows the heart of Westminster Abbey and the lanes of rural England. And Joe and Posy find that, when you start chasing Shakespeares, what you find is not only who he was, but who you are, and how far you're willing to go....
A first-rate mystery from one of the masters of the genre, Chasing Shakespeares is also a literary shell game, a love story, and a profound meditation on identity and ownership. Sarah Smith has created a novel that rivals A. S. Byatt's Possession in its rich and fast-moving blend of literary history and page-turning suspense.
Past, present. Living, dead. Black, white. This is a powerhouse debut about ugly histories, unlikely romances, and seeing people—alive and otherwise—for who they really are.
Hektik an Angscht war agetriichtert der besser vun hir.
Panikk og frykt var å bli bedre av henne.
In 1999, after 24-years of violent military occupation by Indonesian forces, the small country of Timor-Leste became host to one of the largest UN peace operations. The operation rested on a liberal paradigm of statehood, including nascent ideas on gender in peacebuilding processes. This book provides a critical feminist examination of the form and function of a gendered peace in Timor-Leste.
Drawing on policy documents and field research in Timor-Leste with national organisations, international agencies and UN staff, the book examines gender policy with a feminist lens, exploring and developing a more complex account of ‘gender’ and ‘women’ in peace operations. It argues that gendered ideologies and power delimit the possibilities of building a gender-just peace, and contributes deep insight into how gendered logics inform peacebuilding processes, and specifically how these play out through the implementation of policy that explicitly seeks to reorder gender relations at sites in which peace operations deploy. By utilising a single case study, the book provides space to examine both international and national discourses, and contextualises its analysis of Women, Peace and Security within local histories and contexts.
This book will be of interested to scholars and students of gender studies, global governance, International Relations, and security studies.