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This fascinating study unveils the workings of the Indonesian migration regime, one that sends hundreds of thousands of women abroad as domestic workers each year. Drawing on extended ethnographic research since 2007, the book literally follows migrant women from one particular village in Central Java and tracks the moral, social, economic and legal processes by which they are turned into ‘maids’. From recruitment by local brokers to the ‘training’ received in secluded camps in Jakarta, employment in gated middle-class homes in Malaysia and back home again, Olivia Killias highlights the implications of the migration process on gendered practices of labour mobility (and immobilisation). She also reveals the disciplinary power that states, recruitment agencies and employers exercise over migrant domestic workers as well as highlighting frictions within the system. Killias’s analysis demonstrates that ironically, the “legalisation” of the migration industry, under the joint pressures of the Indonesian migration bureaucracy and international humanitarian agencies, does not automatically improve the situation of the women who embark on the migration adventure. Rather, Killias unmasks the gendered moralizing discourses on “illegal” migration and “trafficking” as legitimizing indentured labour and constraining migrant mobility. By exploring the workings of the Indonesian state’s overseas legal labour migration regime for migrants, she brings the reader directly into the nerve-racking lives of migrant village women, and reveals the richness and ambiguity of their experiences, going beyond stereotypical representations of them as “victims of trafficking”.

In Maid as Muse, Aífe Murray explodes the myth of the isolated genius and presents an intimate, densely realized story of joined lives between Emily Dickinson and her domestic servants. Part scholarly study, part detective story, part personal journey, Murray's book uncovers a world previously unknown: an influential world of Irish immigrant servants and an ethnically rich one of Yankee, English-immigrant, Native American, and African American maids and laborers, seamstresses and stablemen. Murray reveals how Margaret Maher and the other servants influenced the cultural outlook, fashion, artistic subject, and even poetic style of Emily Dickinson. Irish immigrant Maher becomes the lens to a larger story about artistic reciprocities and culture-making that has meaning way beyond Dickinson. This below-stairs, bottom-up portrait of the artist and her family not only injects themes of class and ethnic difference into the story but also imparts subtle details and intimacies that make the study of Emily Dickinson urgent once again. In the kitchen pantry where she spent a good portion of each day, the outside world came to Dickinson. The "invisible" kitchen was headquarters for people mostly lost from the public record—and it was her interactions with them that changed and helped define who Emily Dickinson was as a person and a poet.