"A rich and detailed picture of a particular historical moment that has now passed . . . I found myself immersed in the world of the East Village theatre scene and its connections to the larger world of feminism, theatre, and politics. Davy's long-standing association with this world pays off handsomely---it is impossible to imagine that anyone could write a more informative portrait."
---Charlotte Canning, University of Texas at Austin
"After hosting two annual international women's performance festivals in 1980 and '81, Peggy Shaw, Lois Weaver, and comrades put on such extravaganzas as the Freudian Slip party and the Debutante Ball (a coming-out party if ever there was one) to raise the first several months' rent for a narrow vestibule on East 11th Street, where they could keep the creativity going year-round. There, on a stage no bigger than a queen-sized mattress, . . . artists honed their craft, giving birth to a celebratory feminist-and-tinsel-tinged queer aesthetic. By the mid '80s . . . the rent quadrupled, and WOW moved to a city-owned building on East 4th Street, where it has flourished ever since, presenting hundreds---if not thousands---of plays, solo shows, concerts, dance pieces, cabarets, and sundry performances that defy classification."
---Alisa Solomon, Village Voice
Out of a small, hand-to-mouth, women's theater collective called the WOW Café located on the lower east side of Manhattan, there emerged some of the most important theater troupes and performance artists of the 1980s and 1990s, including the Split Britches Company, the Five Lesbian Brothers, Carmelita Tropicana, Holly Hughes, Lisa Kron, Deb Margolin, Reno, Peggy Shaw, and Lois Weaver. The WOW (Women's One World) Café Theatre appeared on the cultural scene at a critical turning point in both the women's movement and feminist theory, putting a witty, hilarious, gender-bending and erotically charged aesthetic on the stage for women in general and lesbians in particular.
The storefront that became the WOW Café Theatre saw dozens of excitingly original and enormously funny performances created, performed, and turned over at lightning speed---a kind of "hit and run" theater. As the demands on the space increased, the women behind WOW organized as a collective and moved their theater to an abandoned doll factory where it continues to operate today. For three decades the WOW Café has nurtured fledgling women writers, designers, and performers who continue to create important performance work.
Lady Dicks and Lesbian Brothers provides a critical history of this avant-garde venture whose ongoing "system of anarchy" has been largely responsible for its thirty-year staying power, after dozens of other women's theaters have collapsed. WOW artists were creating a wholly original cultural landscape across which women could represent themselves on their own terms. Parody, cross-dressing, zany comedy, and an unbridled eroticism are hallmarks of WOW's aesthetic, combined---importantly and powerfully---with a presumptive address to the audience as if everyone onstage, in the audience, and in the world is lesbian. Author Kate Davy's extensive research included in-depth interviews with WOW veterans; newspaper reviews of the earliest productions; and rare, unpublished photographs. The book also includes a chronology of productions that have highlighted WOW's performance schedule since the early '80s.
Kate Davy is currently Provost and Vice Chancellor for Academic Affairs at the University of Michigan-Dearborn. Her previous books include Richard Foreman: Plays and Manifestos and Richard Foreman and the Ontological-Hysteric Theatre.
Licentious Gotham, set in the streets, news depots, publishing houses, grand jury chambers, and courtrooms of the nation’s great metropolis, delves into the stories of the enterprising men and women who created a thriving transcontinental market for sexually arousing books and pictures. The experiences of “fancy” publishers, “flash” editors, and “racy” novelists, who all managed to pursue their trade in the face of laws criminalizing obscene publications, dramatically convey nineteenth-century America’s daring notions of sex, gender, and desire, as well as the frequently counterproductive results of attempts to enforce conventional moral standards.
In nineteenth-century New York, the business of erotic publishing and legal attacks on obscenity developed in tandem, with each activity shaping and even promoting the pursuit of the other. Obscenity prohibitions, rather than curbing salacious publications, inspired innovative new styles of forbidden literature—such as works highlighting expressions of passion and pleasure by middle-class American women. Obscenity prosecutions also spurred purveyors of lewd materials to devise novel schemes to evade local censorship by advertising and distributing their products through the mail. This subterfuge in turn triggered far-reaching transformations in strategies for policing obscenity.
Donna Dennis offers a colorful, groundbreaking account of the birth of an indecent print trade and the origins of obscenity regulation in the United States. By revealing the paradoxes that characterized early efforts to suppress sexual expression in the name of morality, she suggests relevant lessons for our own day.
Harlem Renaissance writer Dorothy West led a charmed life in many respects. Born into a distinguished Boston family, she appeared in Gershwin’s Porgy and Bess, then lived in the Soviet Union with a group that included Langston Hughes, to whom she proposed marriage. She later became friends with Jacqueline Kennedy Onassis, who encouraged her to finish her second novel, The Wedding, which became the octogenarian author’s first bestseller.
Literary Sisters reveals a different side of West’s personal and professional lives—her struggles for recognition outside of the traditional literary establishment, and her collaborations with talented African American women writers, artists, and performers who faced these same problems. West and her “literary sisters”—women like Zora Neale Hurston and West’s cousin, poet Helene Johnson—created an emotional support network that also aided in promoting, publishing, and performing their respective works. Integrating rare photos, letters, and archival materials from West’s life, Literary Sisters is not only a groundbreaking biography of an increasingly important author but also a vivid portrait of a pivotal moment for African American women in the arts.
In the early decades of this century, the wave of immigration that brought nearly two million Jews from the Pale of Settlement to the United States included an extraordinary group of gifted Yiddish poets and writers, who came to be called Di Yunge (The Young). A Little Love in Big Manhattan tells the story of two of the Young’s most prominent figures—Mani Leib, a lyric poet intent on refining the hard facts of his life into works of enduring beauty, and Moishe Leib Halpern, for whom poetry had to be the expression of coarse and shattering reality.
Through a dual biography of these opposing personalities, Ruth Wisse describes the rich and vital cultural movement that embraced them both. She tells of the burst of creative energy exhibited by the young poets and intellectuals who, after a long day of manual labor, would congregate in the cafes of the Lower East Side for badinage, debate, and literary talk. They started literary journals and compiled anthologies of their writings, which found their way overseas and had a rejuvenating influence on Yiddish poetry abroad. Ironically, their achievement coincided with the decline of the language in which they wrote, so that Yiddish poetry came into its own in America at a time when the next generation could scarcely read it; there were no literary heirs.
Ruth Wisse presents modern Jews with a part of their lost inheritance, and also claims for the Yiddish poets a place in the American canon. The first book to present these poets as part of the history of immigrant Jews in America, A Little Love in Big Manhattan (the title is from a poem of Halpern’s) will appeal to readers of poetry and to people interested in facets of the intellectual and artistic atmosphere of the interwar period.
Like a warm family album, this lively book heralds and documents the rich and vibrant traditions of Yiddish-speaking immigrants and their children in “the golden land,” from the first arrivals to the Second World War.
Meet the famous, the infamous, and the unknown—from hotelier Jenny Grossinger to mobster Jake “Greasy Thumb” Guzik to Moses Solomon, the would-be “Jewish Babe Ruth;” from anarchist Emma Goldman to entertainer Eddie Cantor.
Share the struggles and the triumphs of the labor unions, of Yiddish playwrights and poets. Enter the sweatshops of New York’s Lower East Side and the first Jewish settlements in Los Angeles and Chicago. Taste pastrami from Canter’s Deli in Los Angeles, knishes from Yonah Shimmel’s in New York City, and the famous “smookmit” of the Montreal ghetto.
Lavishly illustrated with photos, cartoons, theater posters, and song sheets, here is a book to delight and inform. It is a joyous celebration of life.
Tales of nocturnal journeys, radical music making, and polymorphous sexuality flow through the arteries of Love Saves the Day like hot liquid vinyl. They are interspersed with a detailed examination of the era’s most powerful djs, the venues in which they played, and the records they loved to spin—as well as the labels, musicians, vocalists, producers, remixers, party promoters, journalists, and dance crowds that fueled dance music’s tireless engine.
Love Saves the Day includes material from over three hundred original interviews with the scene's most influential players, including David Mancuso, Nicky Siano, Tom Moulton, Loleatta Holloway, Giorgio Moroder, Francis Grasso, Frankie Knuckles, and Earl Young. It incorporates more than twenty special dj discographies—listing the favorite records of the most important spinners of the disco decade—and a more general discography cataloging some six hundred releases. Love Saves the Day also contains a unique collection of more than seventy rare photos.
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