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Hard Bread
Peg Boyers
University of Chicago Press, 2002
The poems in Peg Boyers's Hard Bread are "spoken" in the imagined voice of the Italian writer, Natalia Ginzburg (1916-91). While much of the book is based on Ginzburg's life—her upbringing in Turin; her brief marriage to the resistance activist, Leone Ginzburg; her experience of Fascism and war; her work as novelist, playwright, editor, and newspaper columnist; her embattled friendships with writers like Primo Levi, Pier Paolo Pasolini, Ernest Hemingway, and Cesare Pavese—much is invented. The result is a book by turns melancholy and acerbic, mournful and satiric, contemplative and combative.
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Harriet Tubman
The Life and the Life Stories
Jean M. Humez
University of Wisconsin Press, 2005

    Harriet Tubman’s name is known world-wide and her exploits as a self-liberated Underground Railroad heroine are celebrated in children’s literature, film, and history books, yet no major biography of Tubman has appeared since 1943. Jean M. Humez’s comprehensive Harriet Tubman is both an important biographical overview based on extensive new research and a complete collection of the stories Tubman told about her life—a virtual autobiography culled by Humez from rare early publications and manuscript sources. This book will become a landmark resource for scholars, historians, and general readers interested in slavery, the Underground Railroad, the Civil War, and African American women.
    Born in slavery in Maryland in or around 1820, Tubman drew upon deep spiritual resources and covert antislavery networks when she escaped to the north in 1849. Vowing to liberate her entire family, she made repeated trips south during the 1850s and successfully guided dozens of fugitives to freedom. During the Civil War she was recruited to act as spy and scout with the Union Army. After the war she settled in Auburn, New York, where she worked to support an extended family and in her later years founded a home for the indigent aged. Celebrated by her primarily white antislavery associates in a variety of private and public documents from the 1850s through the 1870s, she was rediscovered as a race heroine by woman suffragists and the African American women’s club movement in the early twentieth century. Her story was used as a key symbolic resource in education, institutional fundraising, and debates about the meaning of "race" throughout the twentieth century.
    Humez includes an extended discussion of Tubman’s work as a public performer of her own life history during the nearly sixty years she lived in the north. Drawing upon historiographical and literary discussion of the complex hybrid authorship of slave narrative literature, Humez analyzes the interactive dynamic between Tubman and her interviewers. Humez illustrates how Tubman, though unable to write, made major unrecognized contributions to the shaping of her own heroic myth by early biographers like Sarah Bradford. Selections of key documents illustrate how Tubman appeared to her contemporaries, and a comprehensive list of primary sources represents an important resource for scholars.

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Hawthorne and Women
Engendering and Expanding the Hawthorne Tradition
John L. Idol
University of Massachusetts Press, 1999
Nathaniel Hawthorne is notorious for complaining in a letter to one of his publishers that a "damn'd mob of scribbling women" was stealing his audience. Elsewhere, he referred to women authors as "ink-stained Amazons" who were "without a single exception, detestable," and once expressed his wish that all women be "forbidden to write, on pain of having their faces deeply scarified with an oyster-shell."

This collection of original essays presents a more complex and positive view of Hawthorne's attitudes toward women, demonstrating his recognition of the crucial role that women played--as critics, reviewers, readers, and authors--in building a national readership that made his writing career so successful.

The book begins with an examination of the influence exerted by the women in Hawthorne's immediate family. It goes on to explore his links to a broad range of women writers, as well as his attitudes toward the female characters he created. Among the authors discussed are Margaret Fuller, Harriet Beecher Stowe, Louisa May Alcott, Emily Dickinson, Sarah Orne Jewett, Willa Cather, Charlotte Perkins Gilman, George Eliot, Virginia Woolf, Flannery O'Connor, and Toni Morrison.
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Healing Narratives
Women Writers Curing Cultural Dis-ease
Wilentz, Gay
Rutgers University Press, 2000
In Healing Narratives, Gay Wilentz explores the relationship between culture and health. In close reading of works by five women writers - Toni Cade Bambara, Erna Broder, Leslie Marmon Silko, Keri Hulme, and Jo Sinclair-she traces the narrative and structural similarities of a main character moving form a state of mental or physical disease toward wellness through reconnection with her cultural traditions. Whether due to the history of diaspora, colonial oppression, or the subversion of traditional culture by modernity, illness can only be overcome when the cultural construction of disease is recognized and a link to the indigenous is restored. Wilentz's cross-cultural approach-African American, Jamaican, Native American, Maori, and Jewish stories-offers a rich context from which the basis of cultural illness can be examined.
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Hearts of Darkness
White Women Write Race
Marcus, Jane
Rutgers University Press, 2004
In this book, one of modernism's most insightful critics, Jane Marcus, examines the writings of novelists such as Virginia Woolf, Nancy Cunard, Mulk Raj Anand, and Djuna Barnes-artists whose work coincided with the end of empire and the rise of fascism before the Second World War. All these writers delved into the "dark hearts" of imperialism and totalitarianism, thus tackling some of the most complex cultural issues of the day. Marcus investigates previously unrecognized ways in which social and political tensions are embodied by their works.

The centerpiece of the book is Marcus's dialogue with one of her best-known essays, "Britannia Rules The Waves." In that piece, she argues that The Waves makes a strong anti-imperialist statement. Although many already support that argument, she now goes further in order to question the moral value of such a buried critique on Woolf's part. In "A Very Fine Negress" she analyzes the painful subject of Virginia Woolf's racism in A Room of One's Own. Other chapters traverse the connected issues of modernism, race, and imperialism. In two of them, we follow Nancy Cunard through the making of the Negro anthology and her appearance in a popular novel of the freewheeling Jazz Age. Elsewhere, Marcus delivers a complex analysis of A Passage to India, in a reading that interrogates E. M. Forster's displacement of his fear of white Englishwomen struggling for the vote.

Marcus, as always, brings considerable gifts as both researcher and writer to this collection of new and reprinted essays, a combination resulting in a powerful interpretation of many of modernism's most cherished figures.



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Her Husband
Luigi Pirandello
Duke University Press, 2000
One of the twentieth century’s greatest literary artists and winner of the Nobel prize in 1934, Luigi Pirandello wrote the novel Her Husband in 1911, before he produced any of the well-known plays with which his name is most often associated today. Her Husband—translated here for the first time into English—is a profoundly entertaining work, by turns funny, bitingly satirical, and tinged with anguish. As important as any of the other works in Pirandello’s oeuvre, it portrays the complexities of male/female relations in the context of a newly emerging, small but vocal Italian feminist movement.
Evoking in vivid detail the literary world in Rome at the turn of the century, Her Husband tells the story of Silvia Roncella, a talented young female writer, and her husband Giustino Boggiolo. The novel opens with their arrival in Rome after having left their provincial southern Italian hometown following the success of Silvia’s first novel, the rather humorously titled House of Dwarves. As his wife’s self-appointed (and self-important) promoter, protector, counselor, and manager, Giustino becomes the primary target of Pirandello’s satire. But the couple’s relationship—and their dual career—is also complicated by a lively supporting cast of characters, including literary bohemians with avant-garde pretensions and would-be aristocratic esthetes who are all too aware of the newly acquired power of journalists and the publishing establishment to make or break their careers. Having based many of the characters—including Silvia and Giustino—on actual literary acquaintances of his, Pirandello reacted to the novel’s controversial reception by not allowing it to be reprinted after the first printing sold out. Not until after his death were copies again made available in Italy.
Readers will find Her Husband eerily evocative of the present in myriad ways—not the least of which is contemporary society’s ongoing transformation wrought by the changing roles of men and women, wives and husbands.


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Her War Story
Twentieth-Century Women Write About War
Edited by Sayre P. Sheldon
Southern Illinois University Press, 1999

Sayre P. Sheldon chose the twentieth century for this collection of women's war writing because women's roles in war have changed dramatically in this century. The twentieth century has redefined the meaning of combat and expanded the territory of war to include women in larger numbers than ever before. When the technological advances of modern war began to target civilians, the home front became the front line. Women took an active part in war whether or not by choice, often by moving into occupations previously closed to them. Women covered wars for their newspapers, wrote war propaganda for their governments, published their wartime diaries, described fighting alongside men, and used wartime experience for their fiction and poetry.

Women writers also chose the right to imagine war, just as men for centuries had written about war without actually experiencing it. Women writers anthologized here include Anna Akhmatova, Vera Brittain, Gwendolyn Brooks, Willa Cather, Colette, Martha Gellhorn, H.D., Etty Hillesum, Käthe Kollwitz, Doris Lessing, Amy Lowell, Katherine Mansfield, Mary McCarthy, Toni Morrison, Dorothy Parker, Mary Lee Settle, Gertrude Stein, Huong Tram, Edith Wharton, Virginia Woolf, and Mitsuye Yamada.

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Here
Women Writing on Michigan's Upper Peninsula
Ronald Riekki
Michigan State University Press, 2015
How does place impact prose? Here: Women Writing on Michigan’s Upper Peninsula explores that very question, drawing on the work of Upper Peninsula authors past and present to create a vibrant kaleidoscope of voices and experiences. Bame-wa-wa-ge-zhik-aquay, Janet Loxley Lewis, Lorine Niedecker, Catie Rosemurgy, and thirty-one other authors important to the region appear in this exceptional and diverse volume. In poetry (“Spring” by Beverly Matherne, “For Those Who Dream of Cranes” by Elinor Benedict, and “Skin on Skin” by Sally Brunk), short fiction (“North Country” by Roxane Gay, “For the Healing of All Women” by April Lindala, and “Winter Mines” by Sharon Dilworth), and novel excerpts (from Once on This Island by Gloria Whelan, South of Superior by Ellen Airgood, and Dandelion Cottage by Carroll Watson Rankin), the unique character of the U.P. materializes on the page. The book also shines a spotlight on powerful emerging voices such as Lisa Fay Coutley, Charmi Keranen, and Saara Myrene Raappana. The first of its kind, this is an anthology for all seasons, an homage to the rich literary heritage of the region.
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Heretics and Hellraisers
Women Contributors to The Masses, 1911-1917
By Margaret C. Jones
University of Texas Press, 1993

The Masses was the most dynamic and influential left-wing magazine of the early twentieth century, a touchstone for understanding radical thought and social movements in the United States during that era. As a magazine that supported feminist issues, it played a crucial role in shaping public discourse about women's concerns. Women editors, fiction writers, poets, and activists like Mary Heaton Vorse, Louise Bryant, Adriana Spadoni, Elsie Clews Parsons, Inez Haynes Gillmore, and Helen Hull contributed as significantly to the magazine as better-known male figures.

In this major revisionist work, Margaret C. Jones calls for reexamination of the relevance of Masses feminism to that of the 1990s. She explores women contributors' perspectives on crucial issues: patriarchy, birth control, the labor movement, woman suffrage, pacifism, and ethnicity. The book includes numerous examples of the writings and visual art of Masses women and a series of biographical/bibliographical sketches designed to aid other researchers.

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Holy Terrors
Latin American Women Perform
Diana Taylor and Roselyn Costantino, eds.
Duke University Press, 2003
Holy Terrors presents exemplary original work by fourteen of Latin America’s foremost contemporary women theatre and performance artists. Many of the pieces—including one-act plays, manifestos, and lyrics—appear in English for the first time. From Griselda Gambaro, Argentina's most widely recognized playwright, to such renowned performers as Brazil's Denise Stoklos and Mexico’s Jesusa Rodríguez, these women are involved in some of Latin America's most important aesthetic and political movements. Of varied racial and ethnic backgrounds, they come from across Latin America—Argentina, Brazil, Mexico, Chile, Colombia, Puerto Rico, Peru, and Cuba. This volume is generously illustrated with over seventy images. A number of the performance pieces are complemented by essays providing context and analysis.

The performance pieces in Holy Terrors are powerful testimonies to the artists' political and personal struggles. These women confront patriarchy, racism, and repressive government regimes and challenge brutality and corruption through a variety of artistic genres. Several have formed theatre collectives—among them FOMMA (a Mayan women’s theatre company in Chiapas) and El Teatro de la máscara in Colombia. Some draw from cabaret and ‘frivolous’ theatre traditions to create intense and humorous performances that challenge church and state. Engaging in self-mutilation and abandoning traditional dress, others use their bodies as the platforms on which to stage their defiant critiques of injustice. Holy Terrors is a unique English-language presentation of some of Latin America's fiercest, most provocative art.

Contributors
Sabina Berman
Tania Bruguera
Petrona de la Cruz Cruz
Diamela Eltit
Griselda Gambaro
Astrid Hadad
Teresa Hernández
Rosa Luisa Márquez
Teresa Ralli
Diana Raznovich
Jesusa Rodríguez
Denise Stoklos
Katia Tirado
Ema Villanueva

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Home Girls
Chicana Literary Voices
Alvina E. Quintana
Temple University Press, 1996
"Home Girls makes an original, bold, and significant contribution to feminist studies, Chicana/o studies, and literature. Quintana accomplishes what few critics in Chicana/o studies have done: she applies different interpretive paradigms to her reading of Chicana texts, blending ethnography with literary criticism, ideological analysis with semiotics. Her reading of literary texts is rich in texture and detail." --Rosa Linda Fregoso, author of Bronze Screen: Chicana and Chicano Film Culture Chicana writers in the United States write to inspire social change, to challenge a patriarchal and homophobic culture, to redefine traditional gender roles, to influence the future. Alvina E. Quintana examines how Chicana writers engage literary convention through fiction, poetry, drama, and autobiography as a means of addressing these motives. Her analysis of the writings of Gloria Anzaldua, Ana Castillo, Denise Chavez, Sandra Cisneros, and Cherrie Moraga addresses a multitude of issues: the social and political forces that influenced the Chicana aesthetic; Chicana efforts to open a dialogue about the limitation of both Anglo-American feminism and Chicano nationalism; experimentations with content and form; the relationship between imaginative writing and self-reflexive ethnography; and performance, domesticity, and sexuality. Employing anthropological, feminist, historical, and literary sources, Quintana explores the continuity found among Chicanas writing across varied genres--a drive to write themselves into being.
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Home Material
Ohio's Nineteenth-Century Regional Women's Fiction
Sandra Parker
University of Wisconsin Press, 1998
This chronologically selected anthology of fiction by eight Ohio women makes accessible a literary tradition that begins with lost aspects of frontier life in the 1830s depicted by contemporaries Julia L. Dumont and Pamilla W. Ball. It ends with Jessie Brown Pounds’s retrospective recreation of the Western Reserve’s frontier culture at the century’s close.
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The Home Plot
Women, Writing, and Domestic Ritual
Ann Romines
University of Massachusetts Press, 1992
In this finely crafted study, Ann Romines builds on twenty years of feminist scholarship to show how domestic ritual--the practice and tradition of housekeeping--has helped shape the substance and tone of some of the best fiction by American women. Examining works by Harriet Beecher Stowe, Sarah Orne Jewett, Mary Wilkins Freeman, Willa Cather, and Eudora Welty, Romines argues that one cannot fully appreciate this writing unless one understands the domestic codes in which it is inscribed.

By reading domestic ritual as a gendered language, Romines seeks to reclaim one of the oldest female traditions--housekeeping--from trivialization and devaluation. In the process, she brings fresh insight to the work of five important American novelists.
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Homecoming Queers
Desire and Difference in Chicana Latina Cultural Production
Danielson, Marivel T
Rutgers University Press, 2009
Homecoming Queers provides a critical discussion of the multiple strategies used by queer Latina authors and artists in the United States to challenge silence and invisibility within mainstream media, literary canons, and theater spaces. Marivel T. Danielson's analysis reveals the extensive legacy of these cultural artists, including novelists, filmmakers, students and activists, comedians, performers, and playwrights. By clearly discussing the complexities and universalities of ethnic, racial, sexual, gender, and class intersections between queer Chicana and U.S. Latinas, Danielson explores the multiple ways identity shapes and shades creative expression. Weaknesses and gaps are revealed in the treatment of difference as a whole, within dominant and marginalized communities.

Spanning multiple genres and forms, and including scholarly theory alongside performances, films, narratives, and testimonials, Homecoming Queers leads readers along a crucial path toward understanding and overcoming the silences that previously existed across these fields.

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Horizon, Sea, Sound
Caribbean and African Women's Cultural Critiques of Nation
Andrea A. Davis
Northwestern University Press, 2022
In Horizon, Sea, Sound: Caribbean and African Women’s Cultural Critiques of Nation, Andrea Davis imagines new reciprocal relationships beyond the competitive forms of belonging suggested by the nation-state. The book employs the tropes of horizon, sea, and sound as a critique of nation-state discourses and formations, including multicultural citizenship, racial capitalism, settler colonialism, and the hierarchical nuclear family.
 
Drawing on Tina Campt’s discussion of Black feminist futurity, Davis offers the concept future now, which is both central to Black freedom and a joint social justice project that rejects existing structures of white supremacy. Calling for new affiliations of community among Black, Indigenous, and other racialized women, and offering new reflections on the relationship between the Caribbean and Canada, she articulates a diaspora poetics that privileges our shared humanity. In advancing these claims, Davis turns to the expressive cultures (novels, poetry, theater, and music) of Caribbean and African women artists in Canada, including work by Dionne Brand, M. NourbeSe Philip, Esi Edugyan, Ramabai Espinet, Nalo Hopkinson, Amai Kuda, and Djanet Sears. Davis considers the ways in which the diasporic characters these artists create redraw the boundaries of their horizons, invoke the fluid histories of the Caribbean Sea to overcome the brutalization of plantation histories, use sound to enter and reenter archives, and shapeshift to survive in the face of conquest. The book will interest readers of literary and cultural studies, critical race theories, and Black diasporic studies.
 
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How Dark Is My Flower
Yosano Akiko and the Invention of Romantic Love
Leith Morton
University of Michigan Press, 2023
The poetry of Yosano Akiko covers all the many and varied aspects of the experience of love—from early romantic encounters between the lover and beloved to the intimate pleasures of mutual infatuation and then true love. The journey outlined in Akiko’s verse also grapples with jealousy and unrequited passion, as Akiko’s poem-narrative treats  the rivalry between herself and her best friend, the poet Yamakawa Tomiko, for the affection of the dashing young literary lion, Yosano Tekkan, who later became Akiko’s husband. Thus, How Dark Is My Flower: Yosano Akiko and the Invention of Romantic Love tells a number of stories: a real-life romance unfolds in the poetry of these three poets examined in the book, as well as the story of the journey from romanticism to modernism   undertaken by early 20th century Japanese poetry.

How Dark Is My Flower emphasizes the astonishing innovations in diction and style, not to mention content, in Akiko’s work that transformed the tanka genre from a hidebound and conservative mode of verse to something much more daring and modern. This book pays particular attention to poetry, particularly the tanka genre, in the evolution of modernism  in Japanese literature and breaks new ground in the study of modern Japanese literature by examining the invention and evolution of the concept of romantic love.
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Hypertext and the Female Imaginary
Jaishree K. Odin
University of Minnesota Press, 2010
In Hypertext and the Female Imaginary, Jaishree K. Odin reveals how media that use hypertextual strategies of narrative fragmentation provocatively engage questions of gender or cultural difference. Odin addresses hypertext on two levels: as an artistic technique in electronic or film narratives and as a metaphor for describing the complexity of postmodernism in which different cultures, discourses, and media are in continual interaction with one another.

Investigating the work of Trinh T. Minh-ha, Judy Malloy, Shelley Jackson, Stephanie Strickland, and M. D. Coverly, Odin demonstrates how these writers apply hypertextual strategies to subversively convey difference. Through her readings of various transformative hypertext narratives by women writers/artists, she pursues the question of what constitutes empowering descriptions of the world in a technology-mediated culture where the dominant discourse is turning everything into the same.

Using feminist as well as postcolonial perspectives, she explores the embodied state of the human as reflected in critically aware contemporary narratives and examines how these works consider what it means to be human in the twenty-first century.
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