Sacred Queens and Women of Consequence is a pathbreaking examination of the contact encounter in Hawaii from the perspective of Hawaiian women. Jocelyn Linnekin offers a reconstruction of Hawaiian women's authority and status before contact with the West and examines changes in their cultural valuation and social position during the first century of Western contact. Through a detailed analysis of women's roles in exchange, production, kinship, and politics during the political and economic transformations of the nineteenth century, Linnekin challenges the view that Polynesian women were doomed to a peripheral status by the ritual logic of pollution. She demonstrates how Hawaiian women maintained their position as points of access to land and power, while frequently resisting the constraints of the tabu system as well as later Western-influenced attempts to abridge their authority.

This book is a unique and important contribution to the scholarship on Hawaiian history as well as to the growing literature on women and colonialism and women and social stratification. It will appeal to scholars and students who work in the areas of gender studies, social stratification, cultural change, Oceania, and historical anthropology.

Sandino's Daughters, Margaret Randall's conversations with Nicaraguan women in their struggle against the dictator Somoza in 1979, brought the lives of a group of extraordinary female revolutionaries to the American and world public. The book remains a landmark. Now, a decade later, Randall returns to interview many of the same women and others. In Sandino's Daughters Revisited, they speak of their lives during and since the Sandinista administration, the ways in which the revolution made them strong  — and also held them back. Ironically, the 1990 defeat of the Sandinistas at the ballot box has given Sandinista women greater freedom to express their feelings and ideas.

Randall interviewed these outspoken women from all walks of life: working-class Diana Espinoza, head bookkeeper of a employee-owned factory; Daisy Zamora, a vice minister of culture under the Sandinistas; and Vidaluz Meneses, daughter of a Somozan official, who ties her revolutionary ideals to her Catholicism. The voices of these women, along with nine others, lead us to recognize both the failed promises and continuing attraction of the Sandinista movement for women. This is a moving account of the relationship between feminism and revolution as it is expressed in the daily lives of Nicaraguan women.

"A collection of varied and amazing lives, all bent on shaping history. Together, these experienced, undeterred Nicaraguan women offer powerful clues about a truly revolutionary and democratizing feminism."––Adrienne Rich

"If it were not for writers like Margaret, how would women around the world find each other when there is such an institutional effort to keep us apart and silent? Here Margaret brings us the voice of Sandino's daughters, honoring his hat and wearing their own, wiser now, having been part of political and personal revolution."––Holly Near

"Powerful, moving, and challenging. Everyone interested in decency and justice will want to read Sandino's Daughters Revisited."––Blanche Wiesen Cook

Sandino's Daughters, Margaret Randall's conversations with Nicaraguan women in their struggle against the dictator Somoza in 1979, brought the lives of a group of extraordinary female revolutionaries to the American and world public. The book remains a landmark. Now, a decade later, Randall returns to interview many of the same women and others. In Sandino's Daughters Revisited, they speak of their lives during and since the Sandinista administration, the ways in which the revolution made them strong––and also held them back. Ironically, the 1990 defeat of the Sandinistas at the ballot box has given Sandinista women greater freedom to express their feelings and ideas.

Randall interviewed these outspoken women from all walks of life: working-class Diana Espinoza, head bookkeeper of a employee-owned factory; Daisy Zamora, a vice minister of culture under the Sandinistas; and Vidaluz Meneses, daughter of a Somozan official, who ties her revolutionary ideals to her Catholicism. The voices of these women, along with nine others, lead us to recognize both the failed promises and continuing attraction of the Sandinista movement for women. This is a moving account of the relationship between feminism and revolution as it is expressed in the daily lives of Nicaraguan women.

In this book, Robin Hackett examines portrayals of race, class, and sexuality in modernist texts by white women to argue for the existence of a literary device that she calls “Sapphic primitivism.” The works vary widely in their form and content and include Olive Schreiner’s proto-modernist exploration of New Womanhood, The Story of an African Farm; Virginia Woolf’s high modernist “play-poem,” The Waves; Sylvia Townsend Warner’s historical novel, Summer Will Show; and Willa Cather’s Southern pastoral, Sapphira and the Slave Girl. In each, blackness and working-class culture are figured to represent sexual autonomy, including lesbianism, for white women. Sapphic primitivism exposes the ways several classes of identification were intertwined with the development of homosexual identities at the turn of the century. Sapphic primitivism is not, however, a means of disguising lesbian content. Rather, it is an aesthetic displacement device that simultaneously exposes lesbianism and exploits modern, primitivist modes of self-representation. Hackett’s revelations of the mutual interests of those who study early twentieth-century constructions of race and sexuality and twenty-first-century feminists doing anti-racist and queer work are a major contribution to literary studies and identity theory.

Jamie Barlowe finds it bitterly ironic that in literary criticism of The Scarlet Letter, a major American novel about a woman, the voices of female critics have been virtually excluded.

Barlowe examines the causes and consequences of the continuing disregard for women's scholarship. To that end, she chronicles The Scarlet Letter's critical reception, analyzes the history of Hester Prynne as a cultural icon in literature and film, rereads the canonized criticism of the novel, and offers a new reading of Hawthorne's work by rescuing marginalized interpretations from the alternative canon of women critics.

Despite the fervent protestations of scholars that women and minorities are no longer excluded from the arena of academic debate, Barlowe's investigation reveals that mainstream scholarship on The Scarlet Letter—studied as models by generations of students and teachers—remains male-dominated in its comprising population and in its attitudes and practices, which function as the source of its truth-claims. Rather than celebrating the minimal handouts of the academy to women and minorities—and of the culture that nurtures and supports the academy's continuing discrimination—Barlowe constructs a case study that reveals the "rather pitiful state of affairs at the close of the twentieth century."

By interrogating canonized assumptions, Barlowe charts new directions for Hawthorne studies and American literary studies. Through this exposé of ingrained institutional bias, perpetuated myths, and privileged critics, Barlowe provides a refigured perception of the field and state of contemporary literary scholarship.

One of the most successful books ever published and the basis of one of the most popular and highly praised Hollywood films, Gone with the Wind has entered world culture in a way that few other stories have. The book was published in June 1936; the film premiered on December 15, 1939. The book has sold 25 million copies, has been translated into twenty-seven languages, and won the 1936 Pulitzer Prize. The film received eight Oscars and has been called the greatest movie ever made. Everyone has heard of GWTW. Most of us have seen the movie or read the novel. In this entertaining and informative book, Helen Taylor is the first to seek reasons for the film/novel's success among viewers/readers. The author asked GWTW fans to relate their experiences with the works, to explain their fascination with the story, to describe the impact GWTW has had on their lives. The results are astonishing and illuminating. In the United States and England, where the author conducted her research, women have to a remarkable degree claimed the story Margaret Mitchell wrote as their own. They name their children Rhett and Scarlett. They see in the lives of the men and women of GWTW their own lives, their own restlessness, their own aspirations for something better than marriage and motherhood. Helen Taylor not only explains the enduring appeal of the work, but also identifies different kinds of response at particular historical moments (especially World War II) and through the past five decades by women of different classes, races, and generations. The author also looks at the contemporary implications of the work's political conservatism, racism, and--paradoxically--feminism. The result is a book that is sophisticated, accessible, and revealing. Scarlett's Women is a book for eery fan, and for all students of film and popular culture.

More than forty years ago a women’s liberation movement called ūman ribu was born in Japan amid conditions of radicalism, violence, and imperialist aggression. Setsu Shigematsu’s book is the first to present a sustained history of ūman ribu’s formation, its political philosophy, and its contributions to feminist politics across and beyond Japan. Through an in-depth analysis of ūman ribu, Shigematsu furthers our understanding of Japan’s gender-based modernity and imperialism and expands our perspective on transnational liberation and feminist movements worldwide.

In Scream from the Shadows, Shigematsu engages with political philosophy while also contextualizing the movement in relation to the Japanese left and New Left as well as the anti–Vietnam War and radical student movements. She examines the controversial figure Tanaka Mitsu, ūman ribu’s most influential activist, and the movement’s internal dynamics. Shigematsu highlights ūman ribu’s distinctive approach to the relationship of women—and women’s liberation—to violence: specifically, the movement’s embrace of violent women who were often at the margins of society and its recognition of women’s complicity in violence against other women.

Scream from the Shadows provides a powerful case study of a complex and contradictory movement with a radical vision of women’s liberation. It offers a unique opportunity to reflect on the blind spots within our contemporary and dominant views of feminism across their liberal, marxist, radical, Euro-American, postcolonial, and racial boundaries.

This volume presents the first systematic evaluation of a feminist epistemology of sciences’ power to transform both the practice of science and our society. Unlike existing critiques, this book questions the fundamental feminist suggestion that purging science of alleged male biases will advance the cause of both science and by extension, social justice.

The book is divided into four sections: the strange status of feminist epistemology, testing feminist claims about scientific practice, philosophical and political critiques of feminist epistemology, and future prospects of feminist epistemology. Each of the essays¾most of which are original to this text¾ directly confronts the very idea that there could be a feminist epistemology or philosophy of science. Rather than attempting to deal in detail with all of the philosophical views that fall under the general rubric of feminist epistemology, the contributors focus on positions that provide the most influential perspectives on science. Not all of the authors agree amongst themselves, of course, but each submits feminist theories to careful scrutiny. Scrutinizing Feminist Epistemology provides a timely, well-rounded, and much needed examination of the role of gender in scientific research.

The poems in this captivating collection weave beauty with violence, the personal with the historic as they recount the harrowing experiences of the two hundred thousand female victims of rape and torture at the hands of the Pakistani army during the 1971 Liberation War. As the child of Bangladeshi immigrants, the poet in turn explores her own losses, as well as the complexities of bearing witness to the atrocities these war heroines endured.

Throughout the volume, the narrator endeavors to bridge generational and cultural gaps even as the victims recount the horror of grief and personal loss. As we read, we discover the profound yet fragile seam that unites the fields, rivers, and prisons of the 1971 war with the poet’s modern-day hotel, or the tragic death of a loved one with the holocaust of a nation.

Moving from West Texas to Dubai, from Virginia to remote villages in Bangladesh and back again, the narrator calls on the legacies of Willa Cather, César Vallejo, Tomas Tranströmer, and Paul Celan to give voice to the voiceless. Fierce yet loving, devastating and magical at once, Seam is a testament to the lingering potency of memory and the bravery of a nation’s victims.

Winner, Great Lakes Colleges Association New Writers Award, 2014
Winner, Binghamton University Milt Kessler Poetry Book Award, 2015
Winner, Drake University Emerging Writers Award, 2015

Searching for Sycorax highlights the unique position of Black women in horror as both characters and creators. Kinitra D. Brooks creates a racially gendered critical analysis of African diasporic women, challenging the horror genre’s historic themes and interrogating forms of literature that have often been ignored by Black feminist theory. Brooks examines the works of women across the African diaspora, from Haiti, Trinidad, and Jamaica, to England and the United States, looking at new and canonized horror texts by Nalo Hopkinson, NK Jemisin, Gloria Naylor, and Chesya Burke. These Black women fiction writers take advantage of horror’s ability to highlight U.S. white dominant cultural anxieties by using Africana folklore to revise horror’s semiotics within their own imaginary. Ultimately, Brooks compares the legacy of Shakespeare’s Sycorax (of The Tempest) to Black women writers themselves, who, deprived of mainstream access to self-articulation, nevertheless influence the trajectory of horror criticism by forcing the genre to de-centralize whiteness and maleness.  

Searching for Their Places is a collection inspired by the Fifth Southern Conference on Women’s History. The essays in this volume are particularly astute in assessing how southern women, in the course of “searching for their places,” have individually or collectively sought to empower themselves. The essays, written by outstanding historians in this field, represent some of the freshest and most exciting scholarship about women in the South. They convincingly illustrate how the national experience looks different when southern women become the focus.

Gilbert Herdt is Director of the Program in Human Sexuality Studies at San Francisco State University, where he is also Professor of Human Sexuality Studies and Anthropology.

From the history of state terrorism in Latin America, to state- and group-perpetrated plunder and genocide in Africa, to war and armed conflicts in the Middle East, militarization--the heightened role of organized aggression in society--continues to painfully shape the lives of millions of people around the world.

In Security Disarmed, scholars, policy planners, and activists come together to think critically about the human cost of violence and viable alternatives to armed conflict. Arranged in four parts--alternative paradigms of security, cross-national militarization, militarism in the United States, and pedagogical and cultural concerns--the book critically challenges militarization and voices an alternative encompassing vision of human security by analyzing the relationships among gender, race, and militarization. This collection of essays evaluates and resists the worldwide crisis of militarizationùincluding but going beyond American military engagements in the twenty-first century.

     On March 3, 1913, the day before Woodrow Wilson’s inauguration, leaders of the American suffrage movement organized an enormous march through the capital that served as an important salvo on the long road to the passage of the Nineteenth Amendment. Coinciding with the widespread rise of photography in daily newspapers and significant shifts in journalism, the parade energized a movement that had been in the doldrums for nearly two decades. In Seeing Suffrage, James G. Stovall combines a detailed account of the parade with more than 130 photographs to provide a stunning visual chronicle of one of the most pivotal moments in the struggle for women’s rights.
     Although the women’s suffrage movement was sixty-five years old by 1913, the belief that women should vote was still controversial. Reactions to the march—a dazzling spectacle involving between five thousand and eight thousand participants—ranged from bemusement to resistance to violence. The lack of cooperation from the Washington police force exacerbated conflicts along the route and, ultimately, approximately one hundred marchers and participants were injured. Although suffrage leaders publicly expressed disgust at the conduct of the crowd and police, privately they were delighted with the turn of events, taking full advantage of the increased media coverage by repeatedly tying the unruly mob and the actions of the police to those who opposed votes for women.
     The 1913 procession stands as one of the first political events in American history staged in great part for visual purposes. This revealing work recounts the march from the planning stages to the struggle up Pennsylvania Avenue and showcases the most interesting and informative photographs of that day. Although supporters needed seven more frustrating years to ratify the Nineteenth Amendment, the Washington Suffrage Parade of 1913 can, as this book demonstrates, rightly be seen as the moment that forced the public to take seriously the effort to secure the vote for women.

Against an Aristocracy of Sex, 1866-1873 is the second of six volumes of the Selected Papers of Elizabeth Cady Stanton and Susan B. Anthony. The entire collection documents the friendship and accomplishments of two of America's most important social and political reformers. Though neither Stanton nor Anthony lived to see passage of the Nineteenth Amendment in 1920, each of them devoted fifty-five years to the cause of women's suffrage.

The second volume picks up the story of Stanton and Anthony at the end of 1866, when they launched their drive to make universal suffrage the priority of Reconstruction. Through letters, speeches, articles, and diaries, this volume recounts their years as editor and publisher of the weekly paper the Revolution, their extensive travels, and their lobbying with Congress. It touches on the bitter division that occurred among suffragists over such controversial topics as marriage and divorce, and a national debate over the citizenship of women under the Fourteenth and Fifteenth Amendments. By the summer of 1873, when this volume ends, Anthony stood convicted of the federal crime of illegal citizenship of women under the Fourteenth and Fifteenth Amendments. By the summer of 1873, when this volume ends, Anthony stood convicted of the federal crime of illegal voting. An irate Stanton warned, "I felt afresh the mockery of this boasted chivalry of man towards woman."

The “hush” of the title comes suddenly, when first Elizabeth Cady Stanton dies on October 26, 1902, and three years later Susan B. Anthony dies on March 13, 1906. It is sudden because Stanton, despite near blindness and immobility, wrote so intently right to the end that editors had supplies of her articles on hand to publish several months after her death. It is sudden because Anthony, at the age of eighty-five, set off for one more transcontinental trip, telling a friend on the Pacific Coast, “it will be just as well if I come to the end on the cars, or anywhere, as to be at home.”

Volume VI of this extraordinary series of selected papers is inescapably about endings, death, and silence. But death happens here to women still in the fight. An Awful Hush is about reformers trained “in the school of anti-slavery” trying to practice their craft in the age of Jim Crow and a new American Empire. It recounts new challenges to “an aristocracy of sex,” whether among the bishops of the Episcopal church, the voters of California, or the trustees of the University of Rochester. And it sends last messages about woman suffrage. As Stanton wrote to Theodore Roosevelt on the day before she died, “Surely there is no greater monopoly than that of all men, in denying to all women a voice in the laws they are compelled to obey.”

With the publication of Volume VI, this series is now complete.

In the School of Anti-Slavery, 1840-1866 is the first of six volumes of The Selected Papers of Elizabeth Cady Stanton and Susan B. Anthony. The collection documents the lives and accomplishments of two of America's most important social and political reformers. Though neither Stanton nor Anthony lived to see the passage of the Nineteenth Amendment in 1920, each of them devoted fifty-five years to the cause. Their names were synonymous with woman suffrage in the United States and around the world as they mobilized thousands of women to fight for the right to a political voice.

Opening when Stanton was twenty-five and Anthony was twenty, and ending when Congress sent the Fourteenth Amendment to the states for ratification, this volume recounts a quarter of a century of staunch commitment to political change. Readers will enjoy an extraordinary collection of letters, speeches, articles, and diaries that tells a story-both personal and public-about abolition, temperance, and woman suffrage.

When all six volumes are complete, the Selected Papers of Stanton and Anthony will contain over 2,000 texts transcribed from their originals, the authenticity of each confirmed or explained, with notes to allow for intelligent reading. The papers will provide an invaluable resource for examining the formative years of women's political participation in the United States. No library or scholar of women's history should be without this original and important collection.

National Protection for National Citizens, 1873 to 1880 is the third of six planned volumes of TheSelected Papers of Elizabeth Cady Stanton and Susan B. Anthony. The entire collection documents the friendship and accomplishments of two of America's most important social and political reformers. Though neither Stanton nor Anthony lived to see passage of the Nineteenth Amendment in 1920, each of them devoted fifty-five years to the cause of woman suffrage.

The third volume of the Selected Papers of Elizabeth Cady Stanton and Susan B. Anthony opens while woman suffragists await the decision of the U.S. Supreme Court in cases testing whether the Constitution recognized women as voters within the terms of the Fourteenth and Fifteenth Amendments. At its close they are pursuing their own amendment to the Constitution and pressing the presidential candidates of 1880 to speak in its favor. Through their letters, speeches, articles, and diaries, the volume recounts the national careers of Elizabeth Cady Stanton and Susan B. Anthony as popular lecturers, their work with members of Congress to expand women's rights, their protests during the Centennial Year of 1876, and the launch that same year of their campaign for a Sixteenth Amendment.

Their Place Inside the Body-Politic is a phrase Susan B. Anthony used to express her aspiration for something women had not achieved, but it also describes the woman suffrage movement’s transformation into a political body between 1887 and 1895. This fifth volume opens in February 1887, just after the U.S. Senate had rejected woman suffrage, and closes in November 1895 with Stanton’s grand birthday party at the Metropolitan Opera House. 

At the beginning, Stanton and Anthony focus their attention on organizing the  International Council of Women in 1888.  Late in 1887, Lucy Stone’s American Woman Suffrage Association announced its desire to merge with the national association led by Stanton and Anthony.  Two years of fractious negotiations preceded the 1890 merger, and years of sharp disagreements followed.  Stanton made her last trip to Washington in 1892 to deliver her famous speech “Solitude of Self.”  Two states enfranchised women—Wyoming in 1890 and Colorado in 1893—but failures were numerous. Anthony returned to grueling fieldwork in South Dakota in 1890 and Kansas and New York in 1894.  From the campaigns of 1894, Stanton emerged as an advocate of educated suffrage and staunchly defended her new position.
 

When Clowns Make Laws for Queens, 1880 to 1887 is the fourth of six planned volumes of The Selected Papers of Elizabeth Cady Stanton and Susan B. Anthony. The entire collection documents the friendship and accomplishments of two of America's most important social and political reformers.

At the opening of the fourth volume, suffragists hoped to speed passage of a sixteenth amendment to the Constitution through the creation of Select Committees on Woman Suffrage in Congress. Congress did not vote on the amendment until January 1887. Then, in a matter of a week, suffragists were dealt two major blows: the Senate defeated the amendment and the Senate and House reached agreement on the Edmunds-Tucker Act, disenfranchising all women in the Territory of Utah.

As evidenced in this volume's selection of letters, articles, speeches, and diary entries, these were years of frustration. Suffragists not only lost federal and state campaigns for partial and full voting rights, but also endured an invigorated opposition. In spite of these challenges, Stanton and Anthony continued to pursue their life's work. In 1880 both women retired from lecturing to devote attention to their monumental History of Woman Suffrage. They also opened a new transatlantic dialogue about woman's rights during a trip to Europe in 1883.

Though most historians remember her as the mistress of Voltaire, Emilie Du Châtelet (1706–49) was an accomplished writer in her own right, who published multiple editions of her scientific writings during her lifetime, as well as a translation of Newton’s Principia Mathematica that is still the standard edition of that work in French. Had she been a man, her reputation as a member of the eighteenth-century French intellectual elite would have been assured.

In the 1970s, feminist historians of science began the slow work of recovering Du Châtelet’s writings and her contributions to history and philosophy. For this edition, Judith P. Zinsser has selected key sections from Du Châtelet’s published and unpublished works, as well as related correspondence, part of her little-known critique of the Old and New Testaments, and a treatise on happiness that is a refreshingly uncensored piece of autobiography—making all of them available for the first time in English. The resulting volume will recover Châtelet’s place in the pantheon of French letters and culture. 

A selection of poems by Lorna Goodison, who in 2017 was named Poet Laureate of Jamaica.

Amy Lowell (1874–1925), American poet and critic, was one of the most influential and best-known writers of her era. Within a thirteen-year period, she produced six volumes of poetry, two volumes of criticism, a two-volume biography of John Keats, and countless articles and reviews that appeared in many popular periodicals. As a herald of the New Poetry, Lowell saw herself and her kind of work as a part of a newly forged, diverse, American people that registered its consciousness in different tonalities but all in a native idiom. She helped build the road leading to the later works of Allen Ginsberg, May Sarton, Sylvia Plath, and beyond. Except for the few poems that invariably appear in American literature anthologies, most of her writings are out of print. This will be the first volume of her work to appear in decades, and the depth, range, and surprising sensuality of her poems will be a revelation.

The poetry is organized according to Lowell’s characteristic forms, from traditional to experimental. In each section the works appear in chronological order. Section one contains sonnets and other traditional verse forms. The next section covers her translations and adaptations of Chinese and Japanese poetry, whereby she beautifully renders the spirit of these works. Also included here are several of Lowell’s own Asian-influenced poems. Lowell’s free, or cadenced verse appears in the third part. The last section provides samples of Lowell’s polyphonic prose, an ambitious and vigorous art form that employs all of the resources of poetry.

The release of The Selected Poems of Amy Lowell will be a major event for readers who have not been able to find a representative sampling of work from this vigorous, courageous poet who gave voice to an erotic, thoroughly American sensibility.

Chiara Matraini (1515–1604?) was a member of the great flowering of poetic imitators and innovators in the Italian literary heritage begun by Petrarch, cultivated later by the lyric poet Pietro Bembo, and supplanted by the epic poet Torquato Tasso. Though without formal training, Matraini excelled in a number of literary genres popular at the time—poetry, religious meditation, discourse, and dialogue. In her midlife, she published a collection of erotic love poetry, but later in life her work shifted toward a search for spiritual salvation. Near the end of her life, she published a new poetry retrospective.

Mostly available in only a handful of rare book collections, her writings are now adeptly translated here for an English-speaking audience and situated historically in an introduction by noted Matraini expert Giovanna Rabitti. Selected Poetry and Prose allows the poet to finally take her place as one of the seminal authors of the Renaissance, next to her contemporaries Vittoria Colonna and Laura Battiferra, also published in the Other Voice series.

Marguerite de Navarre (1492–1549) was the sister and wife to kings and a pivotal influence in sixteenth-century France. An astute politician and diligent humanist, she was a champion of gender equality and the evangelical reform movement, which recognized that the clergy was more concerned with maintaining the church’s power than ministering to the faithful. As the years passed and the glitter of life at court waned, however, Marguerite came to realize her true vocation: writing.
            Selected Writings brings together a representative sampling of Marguerite’s varied writings, most of it never before translated into English, enabling Anglophone readers to enjoy the full breadth of her work for the first time. From verse letters and fables to mythological-pastoral tales, from spiritual songs to a selection of novellas from the Heptameron, the wide range of works included here will reveal Marguerite de Navarre to be one of the most important writers—male or female—of sixteenth-century France.

 

 

 

Following the 1941 attack on Pearl Harbor and America's declaration of war on Japan, the U.S. War Department allowed up to five hundred second-generation, or "Nisei," Japanese American women to enlist in the Women's Army Corps and, in smaller numbers, in the Army Medical Corps.

Through in-depth interviews with surviving Nisei women who served, Brenda L. Moore provides fascinating firsthand accounts of their experiences. Interested primarily in shedding light on the experiences of Nisei women during the war, the author argues for the relevance of these experiences to larger questions of American race relations and views on gender and their intersections, particularly in the country's highly charged wartime atmosphere. Uncovering a page in American history that has been obscured, Moore adds nuance to our understanding of the situation of Japanese Americans during the war.

Seventeen Syllables and Other Stories brings together nineteen stories that span Hisaye Yamamoto's forty-year career. It was her first book to be published in the United States. Yamamoto's themes include the cultural conflicts between the first generation, the Issei, and their children, the Nisei; coping with prejudice; and the World War II internment of Japanese Americans.

In addition to the contents of the original volume, this edition brings back into print the following works:
- Death Rides the Rails to Poston
- Eucalyptus
- A Fire in Fontana
- Florentine Gardens

Over the past twenty years debates about pornography have raged within feminism and beyond. Throughout the 1970s feminists increasingly addressed the problem of men's sexual violence against women, and many women reduced the politics of men's power to questions about sexuality. By the 1980s these questions had become more and more focused on the issue of pornography--now a metaphor for the menace of male power. Collapsing feminist politics into sexuality and sexuality into pornography has not only caused some of the deepest splits between feminists, but made it harder to think clearly about either sexuality or pornography--indeed, about feminist politics more generally.

This provocative collection, by well-known feminists, surveys these arguments, and in particular asks why recent feminist debates about sexuality keep reducing to questions of pornography.

For nearly a decade, Brazil has surpassed Thailand as the world's premier sex tourism destination. As the first full-length ethnography of sex tourism in Brazil, this pioneering study treats sex tourism as a complex and multidimensional phenomenon that involves a range of activities and erotic connections, from sex work to romantic transnational relationships. Erica Lorraine Williams explores sex tourism in the Brazilian state of Bahia from the perspectives of foreign tourists, tourism industry workers, sex workers who engage in liaisons with foreigners, and Afro-Brazilian men and women who contend with foreigners' stereotypical assumptions about their licentiousness. She shows how the Bahian state strategically exploits the touristic desire for exotic culture by appropriating an eroticized blackness and commodifying the Afro-Brazilian culture in order to sell Bahia to foreign travelers.

What does it mean for Black women to organize in a political context that has generally ignored them or been unresponsive although Black women have shown themselves an important voting bloc? How for example, does #sayhername translate into a political agenda that manifests itself in specific policies? Shadow Bodies focuses on the positionality of the Black woman’s body, which serves as a springboard for helping us think through political and cultural representations. It does so by asking: How do discursive practices, both speech and silences, support and maintain hegemonic understandings of Black womanhood thereby rendering some Black women as shadow bodies, unseen and unremarked upon?  

Grounded in Black feminist thought, Julia S. Jordan-Zachery looks at the functioning of scripts ascribed to Black women’s bodies in the framing of HIV/AIDS, domestic abuse, and mental illness and how such functioning renders some bodies invisible in Black politics in general and Black women’s politics specifically. 
 

Born and raised in Britain, Thom Gunn has lived in the United States since 1954. He is well known as a poet and is increasingly gaining recognition as a literary critic. Gunn’s main concern in Shelf Life is with twentieth-century American poets, both the famous and the obscure; he also discusses other matters, including the Elizabethans, Christopher Isherwood as man and stylist, and Gunn’s own poetry, which he touches on indirectly in the first two sections of the book and directly in the last.
 
Gunn’s criticism communicates his own enthusiasm for poetry. He tries to show his readers how to get a first foothold into the work of some of his favorite poets, whether Wyatt or Whitman, Mina Loy or Robert Creeley.
 

More than just a study of legal history, Shifting the Blame looks at the "abuse excuse" defense as an indicator of broad social change in cultural understandings of victimization, responsibility, and womanhood. The introduction of victimization as an exculpatory condition within the context of a criminal defense tells the story of a society that has accepted victimization as a new way of explaining and excusing misbehavior.

Through case law analysis, the book documents the initial development of the strategy in three different types of cases in the 1970s - "rotten social background", brainwashing, and battered women's self-defense cases. Since its initial acceptance in battered women's cases in the early 1980s, the use of the strategy has expanded to a variety of offenders in different types of relationships arguing different defenses. In lively, readable prose, Westervelt examines each form of expansion, revealing that while the expansion of the strategy has been fairly extensive, it has also been limited in some important ways. Her research shows readers that only certain types of "victims," particularly victims of physical abuse, have successfully used this defense. Shifting the Blame exposes the ways in which the acceptance of this new defense strategy illuminates a cultural shift in understandings of individual responsibility and shows how the law plays a role in defining who can be an acceptable victim.

Saundra D. Westervelt is an assistant professor in the Sociology Department at the University of North Carolina at Greensboro.

Showing Our Colors: Afro-German Women Speak Out is an English translation of the German book Farbe bekennen edited by author May Ayim, Katharina Oguntoye, and Dagmar Schultz. It is the first published book by Afro-Germans. It is the first written use of the term Afro-German.

Sightlines: Race, Gender, and Nation in Contemporary Australian Theatre asserts the centrality of theater to the ongoing negotiations of the Australian context. By exploring ways in which ideas about race, gender, and nation are expressed in concrete theatrical contexts, the performative qualities of theatrical representation are revealed as compelling, important sites of critique.
Helen Gilbert discusses an exciting variety of plays, drawing examples from marginalized groups as well as from the theatrical mainstream. While fully engaged with the discourses of contemporary critical thought, Sightlines remains focused on the material stuff of the theater, grounding its discussion in the visual elements of costume, movement, and scenography. And although focused specifically on performance, the author's insistent interest in historical and political contexts also speaks to the broader concerns of cultural studies.
The book's recurrent concern with representations of Aboriginality, particularly in the works of nonindigenous playwrights, draws attention to racial politics as a perennial motif in postcolonial nations. Its illumination of the relationships between patriarchy and imperialism is supported by an extensive discussion of plays by and about women. This nomadic approach marks Sightlines as a groundbreaking study of recent Australian theater, a provocative application of postcolonial theory to the embodied qualities of theatrical representation.
"An impressive and ground-breaking study that provides a coherent postcolonial approach to Australian drama." --Bill Ashcroft, University of New South Wales
"Elegantly written, and always beautifully lucid in its argument. . . . this is a very original work, particularly in its marriage of performance theory and postcolonial analysis." --Deidre Coleman, University of Sydney
Helen Gilbert is Lecturer in Drama and Theatre Studies, University of Queensland, and co-author, with Joanne Tompkins, of Post-Colonial Drama: Theory, Practice, Politics.