Books by Jacqueline Francis

The Relationship Jigsaw is an introductory educational self-help book, that goes beneath the superficial level of personal and family relationships.Are you new to a relationship? Are you already in a relationship or post-relationship?If the answer is yes, then this book is for you.In all walks of life, many reside in relationships where an 'invisible abuse' is taking place. Living with acts or patterns of assaults, intimidation, and humiliation known as coercive control.Forming healthy happy relationships, whether it's with an intimate partner, family member or a co-worker, as a society we must educate, engage in dialogue to set boundaries to preserve one's mental, physical, emotional and spiritual wellbeing and self-worth.The Relationship Jigsaw will: Describe what coercive controlling behaviour is and how it can be identified and remedied. Provide you with the tools and strategies to safeguard your relationship. Identify stakeholders such as parents, authorities, communities, employers who must be made accountable to support healthy relationships so individuals do not suffer in silence. Demonstrate how to piece together all your puzzle pieces to create your healthy happy Relationship Jigsaw.This easy to read self-help book will show you how by developing assertiveness skills your relationship will become more valuable. The Relationship Jigsaw will help utilise the subtle but powerful skills required to nurture your relationship, leaving you feeling empowered knowing that you have chosen the right pieces for your relationship.

Sharon likes to read short stories because she can easily understand them. Long stories are more difficult for her to comprehend and she gets discouraged when she does not understand. Most people who don't have a good education do not like to read. If they would only try to do it, they will slowly increase their reading skills, they will feel so motivated to continue, and they will want to do it more often. When people start reading Sharon's story, it is her hope that they understand the story, identify where she is coming from and not feel ashamed of their own disability anymore.

From the outside, Valencia Lawson Jarrett's life looks perfect. She has a great job, lives in a posh part of London and has the love of her long-term boyfriend, Liam.But looks can be deceiving. Beneath the surface, Val's insecurities begin to eat away at their happiness. Does Liam really love her enough? Why, just for once, can't he prioritise her before his work?As the cracks begin to show, she finds herself drawn to the charming and strikingly handsome Jac Sealer. He is a serial entrepreneur, who showers her with all the attention and affection she is looking for.It seems like a dream come true, but as Val finds out to her cost, dreams can quickly become nightmares.

"Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"--Provided by publisher.

A history of a past phenomenon - racial art - which has ramifications for the present