A SCHOLARLY BOOK REPOSITORY81 start with I start with I
Abducted at the age of eleven, Evelyn Amony spent nearly eleven years inside the Lord’s Resistance Army, becoming a forced wife to Joseph Kony and mother to his children. She takes the reader into the inner circles of LRA commanders and reveals unprecedented personal and domestic details about Joseph Kony. Her account unflinchingly conveys the moral difficulties of choosing survival in a situation fraught with violence, threat, and death.
Amony was freed following her capture by the Ugandan military. Despite the trauma she endured with the LRA, Amony joined a Ugandan peace delegation to the LRA, trying to convince Kony to end the war that had lasted more than two decades. She recounts those experiences, as well as the stigma she and her children faced when she returned home as an adult.
This extraordinary testimony shatters stereotypes of war-affected women, revealing the complex ways that Amony navigated life inside the LRA and her current work as a human rights advocate to make a better life for her children and other women affected by war.
Best books for public & secondary school libraries from university presses, American Library Association
“I am my language,” says the poet Gloria Anzaldúa, because language is at the heart of who we are. But what happens when a person has more than one language? Is there an overlay of language on identity, and do we shift identities as we shift languages? More important, what identities do children construct for themselves when they use different languages in particular ways?
In this book, Norma González uses language as a window on the multiple levels of identity construction in children—as well as on the complexities of life in the borderlands—to explore language practices and discourse patterns of Mexican-origin mothers and the language socialization of their children. She shows how the unique discourses that result from the interplay of two cultures shape perceptions of self and community, and how they influence the ways in which children learn and families engage with their children’s schools.
González demonstrates that the physical presence of the border profoundly affects the practices and ideologies of Mexican-origin women and children. She then argues that language and cultural background should be used as a basis for building academic competencies, and she demonstrates why the evocative/emotive dimension of language should play a major part in studies of discourse, language socialization, and language ideology.
Drawing on women’s own narratives of their experiences as both mothers and borderland residents, I Am My Language is firmly rooted in the words of common people in their everyday lives. It combines personal odyssey with cutting-edge ethnographic research, allowing us to hear voices that have been muted in the academic and public policy discussions of “what it means to be Latina/o” and showing us new ways to connect language to complex issues of education, political economy, and social identity.
I, Claudia: Women in Ancient Rome—an exhibition and catalog produced by the Yale University Art Gallery—provided the first comprehensive study of the lives of Roman women as revealed in Roman art. Responding to the popular success of the exhibit and catalog, Diana E. E. Kleiner and Susan B. Matheson here gather ten additional essays by specialists in art history, history, and papyrology to offer further reflections on women in Roman society based on the material evidence provided by art, archaeology, and ancient literary sources.
In addition to the editors, the contributors are Cornelius C. Vermeule, Rolf Winkes, Mary T. Boatwright, Susan Wood, Eve D'Ambra, Andrew Oliver, Diana Delia, and Ann Ellis Hanson. Their essays, illustrated with black-and-white photos of the art under discussion, treat such themes as mothers and sons, marriage and widowhood, aging, adornment, imperial portraiture, and patronage.
When Viviana Salguero came to the United States in 1946, she spoke very little English, had never learned to read or write, and had no job skills besides housework or field labor. She worked eighteen-hour days and lived outdoors as often as not. And yet she raised twelve children, shielding them from her abusive husband when she dared, and shared in both the tragedies and accomplishments of her family. Through it all, Viviana never lost her love for Mexico or her gratitude to the United States for what would eventually become a better life. Though her story is unique, Viviana Salguero could be the mother, grandmother, or great-grandmother of immigrants anywhere, struggling with barriers of gender, education, language, and poverty.
In I Don't Cry, But I Remember, Joyce Lackie shares with us an intimate portrait of Viviana's life. Based on hours of recorded conversations, Lackie skillfully translates the interviews into an engaging, revealing narrative that details the migrant experience from a woman's point of view and fills a gap in our history by examining the role of women of color in the American Southwest. The book presents Vivana's life not only as a chronicle of endurance, but as a tale of everyday resistance. What she lacks in social confidence, political strength, and economic stability, she makes up for in dignity, faith, and wisdom.
Like all good oral history, Salguero's accounts and Lackie's analyses contribute to our understanding of the past by exposing the inconsistencies and contradictions in our remembrances. This book will appeal to ethnographers, oral historians, students and scholars of Chicana studies and women's studies, as well as general readers interested in the lives of immigrant women.
Finalist, 2019 National Book Award
Honorable Mention, 2020 BCALA Literary Awards
Toi Derricotte’s story is a hero’s journey—a poet earning her way home, to her own commanding powers. “I”: New and Selected Poems shows the reader both the closeness of the enemy and the poet’s inherent courage, inventiveness, and joy. It is a record of one woman’s response to the repressive and fracturing forces around the subjects of race, class, color, gender, and sexuality. Each poem is an act of victory as the author finds her way through repressive forces to speak with beauty and truth.
This collection features more than thirty new poems as well as selections from five previous collections.
The rules may differ from country to country, but the dating game is a universal constant.
After years of searching for Mr. Right in living-room meetings arranged by family or friends, Ghada Abdel Aal, a young Egyptian professional, decided to take to the blogosphere to share her experiences and vent her frustrations at being young, single, and female in Egypt. Her blog, I Want to Get Married!, quickly became a hit with both men and women in the Arab world. With a keen sense of humor and biting social commentary, Abdel Aal recounts in painful detail her adventures with failed proposals and unacceptable suitors. There's Mr. Precious, who storms out during their first meeting when he feels his favorite athlete has been slighted, and another suitor who robs her in broad daylight, to name just a few of the characters she runs across in her pursuit of wedded bliss.
I Want to Get Married! has since become a best-selling book in Egypt and the inspiration for a television series. This witty look at dating challenges skewed representations of the Middle East and presents a realistic picture of what it means to be a single young woman in the Arab world, where, like elsewhere, a good man can be hard to find.
A realistic but fond memoir of a girlhood lived in a coal camp, or “patch” in southwestern Pennsylvania during the Great Depression of the 1930s, Icon of Spring is also a coming-of-age story. It begins in 1932 when the narrator, the child of Carpatho-Rusyn immigrant parents, is seven years old. Her father is a miner, and work is scarce as the grip of the depression tightens. The jars of canned food on the storeroom shelf are dwindling, and the family fears eviction from their small company-owned house.
Icon of Spring recounts her childhood during the next seven years, as she grows to adolescence in a world that is protective within her family but shares the violence of the coal region. She is witness to accidental death in the mines, the murder of a coal and iron policeman, the muted struggle to unionize, and the itinerant beggars who appear at the back door.
Yet this is far from a grim book, for we see life in the patch through the eyes of the child. Warmed by the closeness she feels toward her parents, especially her mother, and her nine brothers and sisters, she knows the joy of one sister’s wedding and raucous reception, the mysterious Easter ritual of the Eastern Orthodox Liturgy, the fun of attending a medicine show, and the almost incandescent hope placed in the new president, Franklin D. Roosevelt. Her life is peopled by traveling peddlers, the priest of her church, a union organizer, and the town bachelors: Big John, Peg Leg Pete, and Shorty Steve.
Icon of Spring evokes life in a depression coal patch from a female perspective. A splendid memoir of childhood told with accuracy and warmth which is also rich in social history, it will appeal to general readers as well as students.
The first in-depth study devoted to Lupino’s directorial work, this book makes a strong case for her as a trailblazing feminist auteur, a filmmaker with a clear signature style and an abiding interest in depicting the plights of postwar American women. Ida Lupino, Director not only examines her work as a cinematic auteur, but also offers a serious consideration of her diverse and long-ranging career, getting her start in Hollywood as an actress in her teens and twenties, directing her first films in her early thirties, and later working as an acclaimed director of television westerns, sitcoms, and suspense dramas. It also demonstrates how Lupino fused generic elements of film noir and the social problem film to create a distinctive directorial style that was both highly expressionistic and grittily realistic. Ida Lupino, Director thus shines a long-awaited spotlight on one of our greatest filmmakers.
Ida Tarbell’s generation called her “a muckraker” (the term was Theodore Roosevelt’s, and he didn’t intend it as a compliment), but in our time she would have been known as “an investigative reporter,” with the celebrity of Woodward and Bernstein. By any description, Ida Tarbell was one of the most powerful women of her time in the United States: admired, feared, hated. When her History of the Standard Oil Company was published, first in McClure’s Magazine and then as a book (1904), it shook the Rockefeller interests, caused national outrage, and led the Supreme Court to fragment the giant monopoly.
A journalist of extraordinary intelligence, accuracy, and courage, she was also the author of the influential and popular books on Napoleon and Abraham Lincoln, and her hundreds of articles dealt with public figures such as Louis Pateur and Emile Zola, and contemporary issues such as tariff policy and labor. During her long life, she knew Teddy Roosevelt, Jane Addams, Henry James, Samuel McClure, Lincoln Stephens, Herbert Hoover, and many other prominent Americans. She achieved more than almost any woman of her generation, but she was an antisuffragist, believing that the traditional roles of wife and mother were more important than public life. She ultimately defended the business interests she had once attacked.
To this day, her opposition to women’s rights disturbs some feminists. Kathleen Brady writes of her: “[She did not have] the flinty stuff of which the cutting edge of any revolution is made. . . . Yet she was called to achievement in a day when women were called only to exist. Her triumph was that she succeeded. Her tragedy ws that she was never to know it.”
Ideal Beauty reveals the woman behind the mystique, a woman who overcame an impoverished childhood to become a student at the Swedish Royal Dramatic Academy, an actress in European films, and ultimately a Hollywood star. Chronicling her tough negotiations with Louis B. Mayer at MGM, it shows how Garbo carved out enough power in Hollywood to craft a distinctly new feminist screen presence in films like Queen Christina. Banner draws on over ten years of in-depth archival research in Sweden, Germany, France, and the United States to demonstrate how, away from the camera’s glare, Garbo’s life was even more intriguing. Ideal Beauty takes a fresh look at an icon who helped to define female beauty in the twentieth century and provides answers to much-debated questions about Garbo’s childhood, sexuality, career, illnesses and breakdowns, and spiritual awakening.
Based on the author’s interviews with relatives of murdered women, If I Die in Juárez is brilliantly crafted to give readers the experience of walking in the shoes of women who daily risk being abducted and murdered in the “capital city of murdered women,” joining thousands of others who for more than a decade have disappeared from Juárez, las desaparecidas, brutally murdered by assassins who have gone unpunished. The agony of one of the darkest tales in human history brings to light a strange hope, illusive yet constant, resisting lies, betrayal, and the desert’s silent sentence of death.
Read an in-depth review of If I Die in Juárez here or click here for a study guide. If I Die in Juárez was also reviewed on KNAU's Southwest Book Review program. Listen here!
An authoritative reassessment of one of the Third Reich’s most notorious war criminals, whose alleged sexual barbarism made her a convenient scapegoat and obscured the true nature of Nazi terror.
On September 1, 1967, one of the Third Reich’s most infamous figures hanged herself in her cell after nearly twenty-four years in prison. Known as the “Bitch of Buchenwald,” Ilse Koch was singularly notorious, having been accused of owning lampshades fabricated from skins of murdered camp inmates and engaging in “bestial” sexual behavior. These allegations fueled a public fascination that turned Koch into a household name and the foremost symbol of Nazi savagery. Her subsequent prosecution resulted in a scandal that prompted US Senate hearings and even the intervention of President Truman.
Yet the most sensational atrocities attributed to Koch were apocryphal or unproven. In this authoritative reappraisal, Tomaz Jardim shows that, while Koch was guilty of heinous crimes, she also became a scapegoat for postwar Germans eager to distance themselves from the Nazi past. The popular condemnation of Koch—and the particularly perverse crimes attributed to her by prosecutors, the media, and the public at large—diverted attention from the far more consequential but less sensational complicity of millions of ordinary Germans in the Third Reich’s crimes.
Ilse Koch on Trial reveals how gendered perceptions of violence and culpability drove Koch’s zealous prosecution at a time when male Nazi perpetrators responsible for greater crimes often escaped punishment or received lighter sentences. Both in the international press and during her three criminal trials, Koch was condemned for her violation of accepted gender norms and “good womanly behavior.” Koch’s “sexual barbarism,” though treated as an emblem of the Third Reich’s depravity, ultimately obscured the bureaucratized terror of the Nazi state and hampered understanding of the Holocaust.
As warriors, freedom fighters and victims, as mothers, wives and prostitutes, and as creators and members of peace movements, women are inevitably caught up in the net of war. Yet women’s participation in warfare and peace campaigns has often been underestimated or ignored.
Images of Women in Peace and War explores women’s relationships to war, peace, and revolution, from the Amazons, Inka and Boadicea, to women soldiers in South Africa, Mau Mau freedom fighters and the protestors at Greenham Common. The contributors consider not only the reality of women’s participation but also look at how their actions have been perceived and represented across cultures and through history. They examine how sexual imagery is constructed, how it is used to delineate women’s relation to warfare and how these images have sometimes been subverted in order to challenge the status quo. The book raises important questions about whether women have a special prerogative to promote peace and considers whether the experience of motherhood leads to a distinctive women’s position on war. The authors find that their analyses lead them to deal with arguments on the basic nature of the sexes and to reevaluate our concepts of “peace,” “war,” and “gender.”
From the mortal maidens of 1817 to the omnipotent goddesses of 1819, Keats uses successive female characters as symbols portraying the salvation and destruction, the passion and fear that the imagination elicits. Karla Alwes traces the change in these female figures—multidimensional and mysteriously protean—and shows that they do more than comprise a symbol of the female as a romantic lover. They are the gauge of Keats’s search for identity. As Keats’s poetry changes with experience, from celebration to denial of the earth, the females change from meek to threatening to a final maternal and conciliatory figure.
Keats consistently maintained a strict dichotomy between the flesh-and-blood women he referred to in his letters and the created females of his poetry, in the same way that he rigorously sought to abandon the real for the ideal in his poetry. In her study of Keats’s poetry, Alwes dramatizes the poet’s struggle to come to terms with his two consummate ideals—women and poetry. She demonstrates how his female characters, serving as lovers, guides, and nemeses to the male heroes of the poems, embody not only the hope but also the disappointment that the poet discovers as he strives to reconcile feminine and masculine creativity. Alwes also shows how the myths of Apollo, which Keats integrated into his poetry as early as February 1815, point up his contradictory need for, yet fear of, the feminine. She argues that Keats’s attempt to overcome this fear, impossible to do by concentrating solely on Apollo as a metaphor for the imagination, resulted in his eventual use of maternal goddesses as poetic symbols.
The goddess Moneta in "The Fall of Hyperion" reclaims the power of the maternal earth to represent the final stage in the development of the female. In combining the wisdom of the Apollonian realm with the compassion of the feminine earth, Moneta is more powerful than Apollo and able to show the poet who does not recognize both realms that he is only a "dreamer," one who "venoms all his days, / Bearing more woe than all his sins deserve."
Because of Moneta’s admonishment, Keats becomes the poet capable of creating "To Autumn." In this final ode, Keats taps the transcendent power inherent in the temporal beauty of the earth. His imagination, once attempting to leave the earth, now goes beyond the Apollonian ideal into the realm of salvation—the human heart—that connects him to the earth. And because of his poetic reconciliation between heaven and earth, Keats is ultimately able to portray an earthly timelessness in which "summer has o’er-brimmed" the bees’ "clammy cells," making for "warm days [that] will never cease."
Through her detailed interpretations of visual representations of la chica moderna, Hershfield demonstrates how the images embodied popular ideas and anxieties about sexuality, work, motherhood, and feminine beauty, as well as class and ethnicity. Her analysis takes into account the influence of mexicanidad, the vision of Mexican national identity promoted by successive postrevolutionary administrations, and the fashions that arrived in Mexico from abroad, particularly from Paris, New York, and Hollywood. She considers how ideals of the modern housewife were promoted to Mexican women through visual culture; how working women were represented in illustrated periodicals and in the Mexican cinema; and how images of traditional “types” of Mexican women, such as la china poblana (the rural woman), came to define a “domestic exotic” form of modern femininity. Scrutinizing photographs of Mexican women that accompanied articles in the Mexican press during the 1920s and 1930s, Hershfield reflects on the ways that the real and the imagined came together in the production of la chica moderna.
Imagining Rhetoric examines how women’s writing developed in the decades between the American Revolution and the Civil War, and how women imagined using their education to further the civic aims of an idealistic new nation.
In the late eighteenth century, proponents of female education in the United States appropriated the language of the Revolution to advance the cause of women’s literacy. Schooling for women—along with abolition, suffrage, and temperance—became one of the four primary arenas of nineteenth-century women’s activism. Following the Revolution, textbooks and fictions about schooling materialized that revealed ideal curricula for women covering subjects from botany and chemistry to rhetoric and composition. A few short decades later, such curricula and hopes for female civic rhetoric changed under the pressure of threatened disunion.
Using a variety of texts, including novels, textbooks, letters, diaries, and memoirs, Janet Carey Eldred and Peter Mortensen chart the shifting ideas about how women should learn and use writing, from the early days of the republic through the antebellum years. They also reveal how these models shaped women’s awareness of female civic rhetoric—both its possibilities and limitations.
The mystery stories and other popular fiction of Mary Roberts Rinehart (1876–1958) brought her wealth and fame, but she was much more than a writer. She was a well-known American, respected and loved during a time when few women achieved national influence.
Her early life was conventional enough. Trained as a nurse, she met and married a physician, with whom she had three sons. She was living the stereotypical life of a young matron in Allegheny (now part of Pittsburgh), when her husband’s investments evaporated during a stock market crash. She began writing as a means to supplement the family income.
Rinehart became a prolific writer. In addition to her mysteries, she wrote serious fiction, plays, poems, magazine articles, and editorials. Her regular contributions to the <I>Saturday Evening Post</I> were immensely popular and helped the magazine mold middle-class taste and manners.
In this fascinating account of a woman ahead of her time, Cohn illuminates the tensions that pervaded Rinehart’s life. Rinehart’s commercial success conflicted with her domestic roles of wife and mother; she often endured periods of illness and depression but also pursued adventure, including a job as the first woman war correspondent at the Belgian front during World War I. Throughout, Cohn presents Rinehart as a woman of many complexities whose zest for life always prevailed.
Karen Dubinsky relies on criminal case files, a revealing but largely untapped source for social historians, to retell individual stories of sexual danger—crimes such as rape, abortion, seduction, murder, and infanticide. Her research supports many feminist analyses of sexual violence: that crimes are expressions of power, that courts are prejudiced by the victim's background, and that most assaults occur within the victims' homes and communities.
Dubinsky distinguishes herself from most feminist scholars, however, by refusing to view women solely as victims and sex as a tool of oppression. She finds that these women actively sought and took pleasure in sexuality, but they distinguished between wanted and unwanted sexual encounters and attempted to punish coercive sex despite obstacles in the court system and the community.
Confronting a number of key theoretical and historiographic controversies, including recent debates over sexuality in feminist theory and politics, she challenges current thinking on the history of women, gender, and sexuality.
In this collection, contributors explore how early women journalists contributed to changing cultural understandings of women’s roles, as well as how class and gender politics meshed in the work of particular individuals. They also examine how female journalists adapted to—or challenged—censorship as political structures in Russia shifted. Over the course of this volume, contributors discuss the attitudes of female Russian journalists toward socialism, Russian nationalism, anti-Semitism, women’s rights, and suffrage. Covering the period from the early 1800s to 1917, this collection includes essays that draw from archival as well as published materials and that range from biography to literary and historical analysis of journalistic diaries.
By disrupting conventional ideas about journalism and gender in late Imperial Russia, An Improper Profession should be of vital interest to scholars of women’s history, journalism, and Russian history.
Contributors. Linda Harriet Edmondson, June Pachuta Farris, Jehanne M Gheith, Adele Lindenmeyr, Carolyn Marks, Barbara T. Norton, Miranda Beaven Remnek, Christine Ruane, Rochelle Ruthchild, Mary Zirin
This is the little book that started a revolution, making women’s voices heard, in their own right and with their own integrity, for virtually the first time in social scientific theorizing about women. Its impact was immediate and continues to this day, in the academic world and beyond. Translated into sixteen languages, with more than 700,000 copies sold around the world, In a Different Voice has inspired new research, new educational initiatives, and political debate—and helped many women and men to see themselves and each other in a different light.
Carol Gilligan believes that psychology has persistently and systematically misunderstood women—their motives, their moral commitments, the course of their psychological growth, and their special view of what is important in life. Here she sets out to correct psychology’s misperceptions and refocus its view of female personality. The result is truly a tour de force, which may well reshape much of what psychology now has to say about female experience.
A white woman navigates her fear and uncertainty to learn the ways of the people she called savages, until she begins to dream “in Dakota, syllables sliding / on my tongue like tender pieces of meat.” An African man, on display as a cannibal at the World’s Columbian Exposition in 1893, sees into the future: “humiliations heaped up / as on overfilled plates . . . / . . . a country that casually / consumes its own.” A woman holds the gray-blue barrel of a gun in her mouth, “the taste familiar / as her own blood.”
With an unexcelled command of narrative verse, Lisa Chávez tells the stories of American lives across more than a century. Whether retelling nineteenth-century captivity narratives or depicting contemporary American women confronting addiction and despair, Chávez investigates issues of identity and self-definition in the face of an often harsh and unremitting history.
Her story-poems explore the ways in which people have been made captive—whether to racism or national policy, to bad marriages or alcoholism, to poverty or emotion—from the Inuit woman birthing a son among strangers to the wife now deranged by desire for another man: “He’s the smoky slow-burn of chipotle on the tongue. My golden idol. My gospel revival. He’s hashish sweet and languorous—my body’s one desire.”
In the end, Chávez shows us a New World of promise in which an alchemist’s assistant summons stories from stones by calling their names with “clicks of her tongue, / syllables of silver, turquoise, and jade,” and a Native woman discovers her true power in an Alaskan bar. Passionate and political, In an Angry Season is a work of startling depth and breadth—an American history in poetry—that asks us what it means to be civilized.
In Close Association is the first English-language study of the local networks of women and men who built modern Japan in the Meiji period (1868–1912). Marnie Anderson uncovers in vivid detail how a colorful group of Okayama-based activists founded institutions, engaged in the Freedom and People’s Rights Movement, promoted social reform, and advocated “civilization and enlightenment” while forging pathbreaking conceptions of self and society. Alongside them were Western Protestant missionaries, making this story at once a local history and a transnational one.
Placing gender analysis at its core, the book offers fresh perspectives on what women did beyond domestic boundaries, while showing men’s lives, too, were embedded in home and kin. Writing “history on the diagonal,” Anderson documents the gradual differentiation of public activity by gender in the late nineteenth and early twentieth centuries. Meiji-era associations became increasingly sex-specific, though networks remained heterosocial until the twentieth century.
Anderson attends to how the archival record shapes what historians can know about individual lives. She argues for the interdependence of women and men and the importance of highlighting connections between people to explain historical change. Above all, the study sheds new light on how local personalities together transformed Japan.
In Contempt: Nineteenth-Century Women, Law, and Literature, by Kristin Kalsem, explores the legal advocacy performed by nineteenth-century women writers in publications of nonfiction and fiction, as well as in real-life courtrooms and in the legal forum provided by the novel form.
Pompeo Colonna’s In Defense of Women (1530), presented in this volume in Latin and English translation, is one of several important defenses of women composed in the fifteenth and sixteenth centuries by male advocates of women’s moral and intellectual worth. Known as a cardinal and a warrior, but also as an active participant in sixteenth-century Italian literary circles, Colonna addresses the work to his cousin Vittoria Colonna, the most renowned Italian woman poet of the era, who, he writes, had urged him to undertake it. His Defense not only refutes arguments of women’s inferiority and incapacity but, remarkably, asserts their ability to hold political office and govern. It contains original Latin text and a critical introduction by Franco Minonzio. It also features a foreword by Margaret L. King, as well as a postscript by King, tracing the separate male-authored and female-authored Renaissance defenses of women.
—Elissa Weaver
Professor of Italian, Emerita, University of Chicago
This book contains the oral testimony of victims of pornography, spoken on the record for the first time in history.
Speaking at hearings on a groundbreaking antipornography civil rights law, women offer eloquent witness to the devastation pornography has caused in their lives. Supported by social science experts and authorities on rape, battery, and prostitution, discounted and opposed by free speech advocates and absolutists, their riveting testimony articulates the centrality of pornography to sexual abuse and inequity today.
At issue in these hearings is a law conceived and drafted by Andrea Dworkin and Catharine A. MacKinnon that defines harm done through pornography as a legal injury of sex discrimination warranting civil redress. From the first set of hearings in Minneapolis in 1983 through those before the Massachusetts state legislature in 1992, the witnesses heard here expose the commonplace reality of denigration and sexual subordination due to pornography and refute the widespread notion that pornography is harmless expression that must be protected by the state.
Introduced with powerful essays by MacKinnon and Dworkin, these hearings--unabridged and with each word scrupulously verified--constitute a unique record of a conflict over the meaning of democracy itself--a major civil rights struggle for our time and a fundamental crisis in United States constitutional law: Can we sacrifice the lives of women and children to a pornographer's right to free "speech"? Can we allow the First Amendment to shield sexual exploitation and predatory sexual violence? These pages contain all the arguments for protecting pornography--and dramatically document its human cost.
Finalist for the 2015 Aidoo-Snyder Prize
In Idi Amin’s Shadow is a rich social history examining Ugandan women’s complex and sometimes paradoxical relationship to Amin’s military state. Based on more than one hundred interviews with women who survived the regime, as well as a wide range of primary sources, this book reveals how the violence of Amin’s militarism resulted in both opportunities and challenges for women. Some assumed positions of political power or became successful entrepreneurs, while others endured sexual assault or experienced the trauma of watching their brothers, husbands, or sons “disappeared” by the state’s security forces. In Idi Amin’s Shadow considers the crucial ways that gender informed and was informed by the ideology and practice of militarism in this period. By exploring this relationship, Alicia C. Decker offers a nuanced interpretation of Amin’s Uganda and the lives of the women who experienced and survived its violence.
Each chapter begins with the story of one woman whose experience illuminates some larger theme of the book. In this way, it becomes clear that the politics of military rule were highly relevant to women and gender relations, just as the politics of gender were central to militarism. By drawing upon critical security studies, feminist studies, and violence studies, Decker demonstrates that Amin’s dictatorship was far more complex and his rule much more strategic than most observers have ever imagined.
On a summer day in 1980 in Niederfeulen, Luxembourg, Suzanne Bunkers pored over parish records of her maternal ancestors, immigrants to the rural American Midwest in the mid 1800s. Suddenly, chance led her to the name Simmerl and to the missing piece in the genealogical puzzle that had brought her so far: Susanna Simmerl, Bunkers' paternal great-great-grandmother, who had given birth to an illegitimate daughter in 1856 before coming to America. Finding Susanna was the catalyst for Bunkers' intensely personal book, which blends history, memory, and imagination into a drama of two women's lives within their multigenerational family.
Drawing on the rich resources of The Law Practice of Abraham Lincoln: Complete Documentary Edition, a DVD version of Lincoln's complete legal papers, In Tender Consideration scans the full range of family woes that antebellum Americans took to the law. Deserted wives, destitute widows, jilted brides with illegitimate children, and slandered women brought their cases before the courts, often receiving a surprising degree of sympathy and support.
Through the stories of dozens of individuals who took legal action to obtain a divorce, contest a will, prosecute a rapist, or assert rights to family property, this volume illuminates the legal status of women and children in Illinois and their experiences with the law in action. Contributors document how the courts viewed children and how they responded to inheritance, custody, and other types of cases involving children or their interests. These cases also highlight Lincoln's life in law, placing him more clearly within the context of the legal culture in which he lived and raising intriguing questions about the influence of his legal life on his subsequent political one.
The transformative mode of these examples expands the definition of heroism and defiance. To prevent these types of heroism from slipping into the abyss of history, this collection brings forth and celebrates women’s fortitude in conflict zones. In the Crossfire of History shines a light onwomen across the globe who are resisting the sociopolitical and economic injustices in their nation-states.
Tracy focuses on the historical romances of six authors: George Tucker, James Ewell Heath, William Alexander Caruthers, John Pendleton Kennedy, Nathaniel Beverley Tucker, and William Gilmore Simms. Using variations on a recurring plot - in which a young planter/hero rescues a planter's daughter from an "enemy" of her class - each of these novelists reinforced an idealized vision of a Southern civilization based on male superiority, white supremacy, and class inequality. It is a world in which white men are represented as the natural leaders of loyal and dependent women, grateful and docile slaves, and inferior poor whites. According to Tracy, the interweaving of these themes reveals the extent to which the Southern defense of slavery in the years leading up to the Civil War was an argument not only about race relations but about gender and class relations as well.
As a diary writer imagines shadow readers rifling diary pages, she tweaks images of the self, creating multiple readings of herself, fixed and unfixed. When the readers and potential readers are husbands and publishers, the writer maneuvers carefully in a world of men who are quick to judge and to take offense. She fills the pages with reflections, anecdotes, codes, stories, biographies, and fictions. The diary acts as a site for the writer’s tension, rebellion, and remaking of herself.
In this book Martinson examines the diaries of Virginia Woolf, Katherine Mansfield, Violet Hunt, and Doris Lessing’s fictional character Anna Wulf, and shows that these diaries (and others like them) are not entirely private writings as has been previously assumed. Rather, their authors wrote them knowing they would be read. In these four cases, the audience is the author’s male lover or husband, and Martinson reveals how knowledge of this audience affects the language and content in each diary. Ultimately, she argues, this audience enforces a certain “male censorship” which changes the shape of the revelations, the shape of the writer herself, making it impossible for the female author to be honest in writing about her true self.
Even sophisticated readers often assume that diaries are primarily private. This study interrogates the myth of authenticity and self-revelation in diaries written under the gaze of particular peekers.
The mistress of a slave-holding estate, Ida Powell Dulany took over control of the extensive family lands once her husband left to fight for the Confederacy. She struggled to manage slaves, maintain contact with her neighbors, and keep up her morale after her region was abandoned by the Confederate government soon after the beginning of hostilities.
More than just an elegantly written account of her own day-to-day experiences in the Civil War, Ida’s journal opens a window into the Southern culture of the time.
Stevan F. Meserve has written extensively for several Civil War publications and is the author of The Civil War in Loudoun County, Virginia: A History of Hard Times.
Anne Mackall Sasscer grew up on Selby, a family farm near The Plains, Virginia, the home of Ida Powell Dulany’s youngest daughter.
Mary LeJeune Mackall spent her early years at Blenheim, a pre-Revolutionary farm near Charlottesville, which inspired her lifelong interest in Virginia history.
Originally published to glowing reviews and literary prizes in France in 1985, this revealing diary not only recounts the moving and tragic relationship of its author, Geneviève Bréton, with the rising young nineteenth-century artist Henri Regnault, it also serves as a valuable historical document concerning the social, cultural, and political life of the French Second Empire.
The young Geneviève Bréton began her journal in 1867 as a consolation for the death of her eldest brother, Antoine. She met Regnault soon after on a trip to Rome. Throughout the next four years of their relationship, Bréton eloquently describes the personal, cultural, and political turbulence that affected her life. Writing against the backdrop of France’s fateful conflict with Prussia and the hardships and dangers of the siege of Paris and the Commune, Bréton, with innate candor and lyricism, creates a text that beautifully illuminates French art, literature, family life, society, and politics of the time. Her poignant account of her love for and engagement to Regnault reveals special insight into the life and mind of an extraordinary, though little known, literary talent. At Regnault’s death in 1871 during the Franco–Prussian War, the expression of her anguish is as much testimony to the political and cultural disorder of the time as it is to her own personal tragedy.
Following Bréton’s own instructions that she left before her death in 1918, this English version of the diary reincorporates material that was deleted from the French edition. Graced by rare photographs of the Bréton family as well as Regnault’s paintings, the book contains a touching foreword by the author’s granddaughter, Daphné Doublet-Vaudoyer. In its first English translation, it is a book for lovers of French life and culture, as well as students of French history; literature, and art.
One of the most memorable images of the British women’s suffrage movement occurred on June 4, Derby Day, 1913. As the field of horses approached a turning at Epsom, militant suffragette Emily Wilding Davison ducked out from under the railing and ran onto the track, reaching for the bridle of the King’s horse, and was killed in the collision. While her death transformed her into a heroine, it all but erased her identity. To identify what impelled Davison to suffer multiple imprisonments, to experience the torture of force-feedings and the insults of hostile members of the crowds who came to hear her speak, Carolyn P. Collette explores a largely ignored source—the writing to which Davison dedicated so much time and effort during the years from 1908 to 1913. Davison’s writing is an implicit apologia for why she lived the life of a militant suffragette and where she continually revisits and restates the principles that guided her: that woman suffrage was necessary to improve the lives of men, women, and children; that the freedom and justice women sought was sanctioned by God and unjustly withheld by humans whose opposition constituted a tyranny that had to be opposed; and that the evolution of human progress demanded that women become fully equal citizens of their nation in every respect— politically, economically, and culturally.
In the Thick of the Fight makes available for the first time the archive of published and unpublished writings of Emily Wilding Davison. Collette reorients both scholarly and public attention away from a single, defining event to the complexity of Davison’s contributions to modern feminist discourse, giving the reader a sense of the vibrancy and diversity of Davison’s suffrage writings.
Nelson Mandela brought the poetry of Ingrid Jonker to the attention of South Africa and the wider world when he read her poem “Die kind” (The Child) at the opening of South Africa’s first democratic parliament on May 24, 1994. Though Jonker was already a significant figure in South African literary circles, Mandela’s reference contributed to a revival of interest in Jonker and her work that continues to this day.
Viljoen’s biography illuminates the brief and dramatic life of Jonker, who created a literary oeuvre—as searing in its intensity as it is brief—before taking her own life at the age of thirty-one. Jonker wrote against a background of escalating apartheid laws, violent repression of black political activists, and the banning of the African National Congress and the Pan Africanist Congress. Viljoen tells the story of Ingrid Jonker in the political and cultural context of her time, provides sensitive insights into her poetry, and considers the reasons for the enduring fascination with her life and death.
Her writings, her association with bohemian literary circles, and her identification with the oppressed brought her into conflict with her father, a politician in the white ruling party, and with other authority figures from her Afrikaner background. Her life and work demonstrate the difficulty and importance of artistic endeavor in a place of terrible conflict.
Insane Sisters is the extraordinary tale of two sisters, Mary Alice Heinbach and Euphemia B. Koller, and their seventeen- year property dispute against the nation's leading cement corporation—the Atlas Portland Cement Company.
In 1903, Atlas built a plant on the border of the small community of Ilasco, located just outside Hannibal—home of the infamous cave popularized in Mark Twain's most acclaimed novels. The rich and powerful Atlas quickly appointed itself as caretaker of Twain's heritage and sought to take control of Ilasco. However, its authority was challenged in 1910 when Heinbach inherited her husband's tract of land that formed much of the unincorporated town site. On grounds that Heinbach's husband had been in the advanced stages of alcoholism when she married him the year before, some of Ilasco's political leaders and others who had ties to Atlas challenged the will, charging Heinbach with undue influence.
To help fight against the local lawyers and politicians who wanted Atlas to own the land, Heinbach enlisted the help of her shrewd and combative sister, Euphemia Koller, by making her co-owner of the tract. In a complex case that went to the Missouri Supreme Court four times, the sisters fiercely sought to hang on to the tract. However, in 1921 the county probate court imposed a guardianship over Heinbach and a circuit judge ordered a sheriff's sale of the property. After Atlas purchased the tract, Koller waged a lonely battle to overturn the sale and expose the political conspiracies that had led to Ilasco's conversion into a company town. Her efforts ultimately resulted in her court- ordered confinement in 1927 to Missouri's State Hospital Number One for the Insane, where she remained until her death at age sixty-eight.
Insane Sisters traces the dire consequences the sisters suffered and provides a fascinating look at how the intersection of gender, class, and law shaped the history and politics of Ilasco. The book also sheds valuable new light on the wider consolidation of corporate capitalism and the use of guardianships and insanity to punish unconventional women in the early twentieth century.
Editors Sidonie Smith and Julia Watson have been at the vanguard of the study of women's self-representation, and here have collected leading critics' and scholars' thoughts on artistic fusions of the visual and autobiographical. Marianne Hirsch, Linda Hutcheon, Linda Kauffman, Nellie McKay, Marjorie Perloff, Lee Quinby, and the other contributors offer new insights into the work of such artists as Laurie Anderson, Judy Chicago, Frida Kahlo, Orlan, and Cindy Sherman. From a painter's diary to a performance artist's ritualized enactments of kitchen domesticity, the many narratives of the self arising from these artists' negotiations of the visual and textual prove to be goldmines for analysis.
Art historians, artists, critics, literary scholars in women's studies, and anyone interested in the forms and implications of depicting the self will enjoy this richly illustrated collection.
Sidonie Smith is Professor of English, University of Michigan. Julia Watson is Associate Professor of Comparative Studies, The Ohio State University. They also edited Reading Autobiography: A Guide for Interpreting Life Narratives and Women, Autobiography, Theory: A Reader.
At the center of the book is Mnemosyne, goddess of memory and mother of the nine muses, who is crumbling under the terrific burden of remembering. In these poems, there is a woman critically wounded—representing the totality of the Western feminine imaginary—who is seeking answers to dire questions. Lyrically complex, sometimes surreal, and often ekphrastic in style and content, Interior Femme simultaneously offers heartbreak, laughter, comfort, and empowerment.
These chapters engage common narratives about the ways in which gender in healthcare is secondary and highlights the stories of people who have battled to prioritize their own bodies through extraordinary difficulties. Employing a multiplicity of voices, the book represents a number of different perspectives on what it might look like to return health and medical data to embodied experience, to consider the effects of gendered and intersectional biomedical norms on lived realities, and to subvert the power of institutions in ways that move us toward biomedical justice.
This collection contributes to the burgeoning field of health and medical rhetorics by rhetorically and theoretically intervening in what are often seen as objective and neutral decisions related to the body and to scientific and medical data about bodies. Interrogating Gendered Pathologies will be of interest to feminist scholars in the field of rhetoric and writing studies, specifically those in the rhetorics of health and medicine, as well as scholars of technical communication, feminist studies, gender studies, technoscience studies, and bioethics.
Contributors: Leslie Anglesey, Mary Assad, Beth Boser, Lillian Campbell, Marleah Dean, Lori Beth De Hertogh, Leandra Hernandez, Elizabeth Horn-Walker, Caitlin Leach, Jordan Liz, Miriam Mara, Cathryn Molloy, Kerri Morris, Maria Novotny, Sage Perdue, Colleen Reilly
This is a book for those who were raised to be girls and expected to become women, for those who were told they were too girly and not girly enough, and for those who were ogled, talked over, touched, fed, imagined, and indoctrinated in ways they didn’t want. Angela Hume writes directly about the experience of womanhood, addressing the boundaries and pressures imposed from childhood on. She considers the persistent instructions to smile, be quiet, and act happy, all administered with the promise that this forced behavior would make everything better. The poems address rigid social norms and, ultimately, walk through the uncomfortable realizations about the bigger systems at play and call on us to examine our own complicity in them.
Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.
On a visit to eastern Hui'an in 1994, Sara Friedman was surprised to see a married woman reluctant to visit her conjugal home. The author would soon learn that this practice was typical of the area, along with distinctive female dress styles, gender divisions of labor, and powerful same-sex networks. These customs, she would learn, have long distinguished villages in this coastal region of southeastern China from other rural Han communities.
Intimate Politics explores these practices that have constituted eastern Hui'an residents, women in particular, as an anomaly among rural Han. This book asks what such practices have come to mean in a post-1949 socialist order that has incorporated forms of marriage, labor, and dress into a developmental scale extending from the primitive to the civilized. Government reform campaigns were part of a wholesale effort to remake Chinese society by replacing its "feudal" elements with liberated socialist ideals and practices. As state actors became involved in the intimate aspects of Huidong women's lives, their official models of progress were challenged by the diversity of local practices and commitment of local residents. These politicized entanglements have generated what the author calls "intimate politics," a form of embodied struggle in which socialist civilizing agendas—from the state-sponsored reforms of the Maoist decades to the market-based "reform and opening" of the post-Mao era—have been formulated, contested, and, in some cases, transformed through the bodies and practices of local women.
Winner of the 1995 University of Illinois Press-National Women's Studies
Association manuscript prize
Women's clubs at the turn of the century were numerous, dedicated to
a number of issues, and crossed class, religious, and racial lines. Emphasizing
the intimacy engendered by shared reading and writing in these groups,
Anne Ruggles Gere contends that these literacy practices meant that club
members took an active part in reinventing the nation during a period
of major change. Gere uses archival material that documents club members'
perspectives and activities around such issues as Americanization, womanhood,
peace, consumerism, benevolence, taste, and literature--and offers a rare
depth of insight into the interests and lives of American women from the
fin de siècle through the beginning of the roaring twenties.
Intimate Practices is unique in its exploration of a range of
women's clubs--Mormon, Jewish, white middle-class, African American, and
working class--and paints a vast and colorful multicultural, multifaceted
canvas of these widely-divergent women's groups.
Sacred Sun, also called Mohongo, was a Native American of the Osage tribe in Missouri. In 1827, her people lost their land, their sacred places, and many of their traditions. Seeking answers to the dilemma faced by her people, and possibly aid from the French, she journeyed to Europe with a group of prominent Osage and a French entrepreneur. The harrowing events she experienced there would shape the woman she became when she returned to the Osage tribe, which had been forced to move to Oklahoma and was still struggling to survive.
Emily Newell Blair was born into a successful southwest Missouri family. Although she was born at a time when the contributions of women in the workforce were quite limited, she was encouraged by her family to get an education and expand her skills in writing and speaking. When women did begin to pursue education and careers, Blair was at the forefront, working tirelessly to secure voting rights for women. Eventually, she was elected to the Democratic National Committee and later poured her energy into organizing Democratic women’s clubs.
Josephine Baker grew up in segregated turn-of-the-century St. Louis society, which determined human worth by the color of one’s skin. Her mixed ethnic background left Baker feeling isolated both from her own black family and from white society. Driven to develop her own unique style, she became a star of song and stage, toured Europe, served as a spy, and was a fervent civil rights and antiracism activist.
Elizabeth Virginia Wallace, known to her family as “Bess,” grew up in one of Missouri’s most prominent families. She married a neighborhood boy—considered unacceptable by her mother—who would go on to become President Harry Truman. Bess Truman, called “the boss” by her husband, worked side by side with him, editing his speeches and providing advice and guidance through innumerable crises during and after World War II.
Into the Spotlight provides valuable new insights into Missouri and American history, as well as women’s history, and will be a welcome addition to the Missouri Heritage Readers Series.
Diversity is the key to this striking assemblage of cultural criticism edited by Frank Lentricchia. Special features include an expanded version of the Rolling Stone interview with the author (“An Outsider in this Society”) and the extraordinary tenth chapter of DeLillo’s Ratner’s Star. Accessibly written and entertaining, the collection will be of great interest to both students and scholars of contemporary American literature as well as to general readers interested in DeLillo’s work.
Contributors. Frank Lentricchia, Anthony Decurtis, Daniel Aaron, Hal Crowther, John A. McClure, Eugene Goodheart, Charles Molesworth, Dennis A. Foster, and John Frow
Rothschilds and radium were the horizons of Doris's childhood. Born in Germany in the early twentieth century, she came of age in an upper-middle-class family that struggled to maintain its bourgeois respectability between the two World Wars. Doris Drucker (she met her husband Peter—of management fame—in the 1930s) has penned a lively and charming memoir that brings to life the Germany of her childhood. Rather than focusing on the rise of Hitler, Drucker weaves history into her story of the day-to-day life of a relatively apolitical family. She chronicles here the crowds that gathered to see the Zeppelin, her attempts to negotiate her Prussian mother's plans for her (like marrying well and becoming a famous scientist), ski trips and hikes, the schools she attended, her father's struggles to support the family, and all the stuff and drama that make up a childhood. Drucker's energetic storytelling, eye for the telling detail, and sly humor draw the reader into her portrait of a way of life made forever poignant by its place in history so close to the brutalities of World War II.
From the boarding school that forbade girls to look at their own legs while they bathed to the unfortunate confusion that resulted from Doris's misinterpretation of "Warsaw has fallen" as "The Waschfrau [washerwoman] has fallen," the tales recounted in Invent Radium or I'll Pull Your Hair give dimension and depth to a milieu that has been flattened by the historical events around it.
This groundbreaking biography reveals a woman quite different from the public persona she promoted. In her bestselling memoir, The Woman in Battle, Velasquez claimed she was an emphatic Confederate patriot, but in fact she never saw combat. Instead, during the war she manufactured bullets for the Union and persuaded her Confederate husband to desert the Army.
After the Civil War ended, she wore many masks, masterminding ambitious confidence schemes worth millions, such as creating a phony mining company, conning North Carolina residents to back her financially in a fake immigration scheme, and attracting investors to build a railroad across western Mexico. With various husbands, Velasquez sought her fortune both in the American West and in the Klondike, though her endeavors cost one husband his life. She also became a social reformer advocating on behalf of better prison conditions, the Cuban revolt against Spain, and the plight of Cuban refugees. Further, Velasquez was one of the first women to venture into journalism and presidential politics. Always a sensational press favorite, she displayed throughout her life an uncanny ability to manipulate popular media and to benefit from her fame in a way that prefigured celebrities of our own time, including using her testimony in a Congressional inquiry about Civil War counterfeiting as a means of promoting her latest business ventures.
So little has been known of Velasquez’s real life that some postmodern scholars have glorified her as a “woman warrior” and used her as an example in cross-gender issues and arguments concerning Hispanic nationalism. Davis firmly refutes these notions by bringing the historical Velasquez to the surface. The genuine story of Velasquez’s life is far more interesting than misguided interpretations and her own fanciful inventions.
Jane Ellen Harrison (1850-1928) is the most famous female Classicist in history, the author of books that revolutionized our understanding of Greek culture and religion. A star in the British academic world, she became the quintessential Cambridge woman--as Virginia Woolf suggested when, in A Room of One's Own, she claims to have glimpsed Harrison's ghost in the college gardens.
This lively and innovative portrayal of a fascinating woman raises the question of who wins (and how) in the competition for academic fame. Mary Beard captures Harrison's ability to create her own image. And she contrasts her story with that of Eugénie Sellers Strong, a younger contemporary and onetime intimate, the author of major work on Roman art and once a glittering figure at the British School in Rome--but who lost the race for renown. The setting for the story of Harrison's career is Classical scholarship in this period--its internal arguments and allegiances and especially the influence of the anthropological strain most strikingly exemplified by Sir James Frazer. Questioning the common criteria for identifying intellectual "influence" and "movements," Beard exposes the mythology that is embedded in the history of Classics. At the same time she provides a vivid picture of a sparkling intellectual scene. The Invention of Jane Harrison offers shrewd history and undiluted fun.
Section I considers the experiences of high-income countries, examining the limitations of industrialization for the advancement of women; returns to secondary education for women; and state control of women's education and labor market productivity through the design of tax systems and the public subsidy of children.
The remaining four sections investigate health, education, household structure and labor markets, and measurement issues in low-income countries, including the effect of technological change on transfers of wealth to and from children in India; women's and men's responses to the costs of medical care in Kenya; the effects of birth order and sex on educational attainment in Taiwan; wage returns to schooling in Indonesia and in Cote d'Ivoire; and the increasing prevalence of female-headed households and the correlates of gender differences in wages in Brazil.
MacLeod’s exploration focuses on the representation of female characters in French comics across genres, artistic styles, and time periods. Until now, these characters and their creators have received relatively little scholarly attention, or have only been considered individually, rather than within wider patterns of female representation; this book aims to correct that.
Irrawaddy Tango, a pepper-tongued, tango-dancing Asian beauty rises from a village girlhood to become the wife of her country's dictator and then a leader of the rebel forces arrayed against him. Tango captures the attention of an ambitious colonel --the self-proclaimed Supremo--while dancing at a talent contest. Once married, she is forced to endure the cruelties of a ruthless and foolish husband, is kidnapped by rebel forces, recaptured and brutally punished by her husband's military clique, and eventually exiled to America. Her return to the fictional Republic of Daya (clearly Burma) brings about the destruction of her husband and his dictatorship. Irrawaddy Tango tells the unsettling tale of powerful men and powerless women. It evokes as well the harshness of exile, revealing the misunderstandings between East and West and by doing so captures the intensity of living between the two.
Isabella Greenway's life was linked with both Theodore Roosevelt and Franklin D. Roosevelt. Her infancy was spent on a snow-swept ranch in North Dakota, where young TR was a neighbor and a friend. In her teens, she captivated Edith Wharton's New York as a glamorous debutante. A bridesmaid in the wedding of Eleanor and Franklin Roosevelt, Isabella was the bride of Robert Ferguson, a Scottish nobleman and one of TR's Rough Riders. They went west when he developed tuberculosis; after his death, she married his fellow Rough Rider, Arizona copper magnate John Greenway.
In Tucson, the energetic Isabella ran an airline, worked with disabled veterans, and founded the world-famous Arizona Inn. When the Great Depression brought hard times, Eleanor Roosevelt recruited Isabella to work for the Democratic Party. Isabella played a decisive role in Franklin Roosevelt's nomination to the presidency in 1932; the New York Times called her "the most-talked-of woman at the National Democratic Convention." She was elected to Congress as Arizona's only US Representative, and again drew national media attention when she challenged FDR for not being sufficiently progressive.
Miller's meticulous biography captures a life of adventure and romance, from southern tobacco country to the ballrooms of New York, from western ranches to the dome of the US Capitol. She shows national politics played out behind the scenes, Isabella's lifelong friendship with Eleanor Roosevelt, and the drama of a loyal wife caring for a dying husband despite having fallen in love with a younger man. The book also shows Greenway's considerable influence on the development of Arizona's business and politics in the early decades of statehood. Although Isabella Greenway died in 1953, the Arizona Inn—a tribute to her enterprise—remains a premier resort hotel, celebrating its 75th anniversary in 2005. This book, too, celebrates Isabella's energy, vision, indomitable spirit, and love of life.
Born into a Victorian Danish family, Karen Christentze Dinesen married her second cousin, a high-spirited and philandering baron, and moved to Kenya where she ran a coffee plantation, painted, and wrote. She later returned to Denmark, lived through the German occupation during World War II, and became a pivotal figure in Heretica, a major literary movement that flourished in Denmark after the war. By the time of her death, Dinesen was an international figure. Truman Capote would later call Out of Africa one of the most beautiful books of the century.
Despite the popularity of her writing, little is known about her life. For this provocative biography, Pelensky has uncovered hundreds of papers in libraries and private collections, and discovered new interview sources in Africa, Denmark, and England to help put the pieces of Dinesen’s life together. Her father’s outspoken sympathy for the plight of the American Indians, his suicide and the effects of his personal anguish as a failed adventurer are illuminated as major forces on Dinesen’s imagination. The Danish history of romance and masquerade and the tradition of pantomime in Denmark are also explored as themes that recur in Dinesen’s work.
Israeli women do not enjoy the equality, status, and power often attributed to them by the media and popular culture. Despite significant achievements and progress, as a whole they continue to earn less than their male counterparts, are less visible and influential in the political arena, do not share equal responsibilities or privileges in the military, have unequal rights and freedoms in family life and law, and are less influential in shaping the nation's self image and cultural orientation.
Bringing together classic essays by leading scholars of Israeli culture, this reader exposes the hidden causes of ongoing discrimination and links the restrictions that Israeli women experience to deeply entrenched structures, including colonial legacies, religious traditions, capitalism, nationalism, and ongoing political conflict. In contrast, the essays also explore how women act creatively to affect social change and shape public discourse in less ostensible ways.
Providing balanced perspectives from the social sciences and the humanities, this comprehensive reader reflects both an emerging consensus and exciting diversity in the field. It is the definitive text for courses in Israeli women's studies.
It All Tastes of Farewell is a frank account of one woman’s life and loves in 1960s East Germany. As a writer, Brigitte Reimann could not help but tell a compelling story, and that is born out here in her diaries, which are gripping as any novel. She recorded only what mattered: telling details, emotional truths, and political realities. Never written for publication and first published in full in German only after the fall of the Berlin Wall, these diaries offer a unique record of what it felt like to live in a country that no longer exists, was represented for years largely through Cold War propaganda, and is still portrayed in fairy-tale Stasi dramas. Here we get a sense of lived experience as if Doris Lessing or Edna O’Brien had been allowed in with their notebooks. This volume continues where her earlier book of diaries, I Have No Regrets, left off, in 1964. It sees Reimann grow wistful and at times bitter, as her love life, her professional life, and her health all suffer. Yet throughout she retains a lively appetite for new experiences and a dedication to writing. Finally, she finds security in a surprising new love, and although she died soon after this volume ends, the novel she was writing was to become a much-read cult hit after her death.
A remarkable document from a time and place that we still struggle to see clearly, It All Tastes of Farewell is unforgettable, a last gift from an essential writer.
“I’ve heard that some volcanic eruptions are soft with oozing streams of lava dancing down the side of the volcano like a Las Vegas chorus line. My father’s eruptions were quick, like bricks being thrown through a window.”
Denise Tolan’s memoir-in-essay traces the legacy of violence in an Italian American family, showing how abuse reverberates both in the body and mind of a family. The book’s first part, “Blood is Not Water,” lays out how the origins of violence can infect the roots of a family tree. The second part, “Good Blood Doesn’t Lie,” shows what grows from those roots. Italian Blood is a raw, heartbreaking series of essays where everything is connected through literal and metaphorical blood. These essays offer a connection to anyone who suffered childhood shame, violence, or fear and provide reassurance that they are not alone.
From the preface by Carmen Kenya Wadley:
“Is it good to be black? To Ruby Berkley Goodwin it was....The black she writes about has nothing to do with skin color, but it does have a great deal to do with self images, values, spiritual strength, and most of all love. Unlike the contradicting definitions of blackness we see reflected in today's crime statistics, movies, television, newspapers, political speeches, advertisements, and sociological reports, Ruby Berkley Goodwin's definition of blackness is simple and to the point: black is good. It's Good to be Black is more than the story (history) of a black family living in Du Quoin, Illinois, during the early 1900s; it is a reaffirmation for all of us who know in our hearts that there is still good in the world and that some of that good is black.”
During the 2017 session, the Arkansas Legislative Assembly expanded the state’s complement of official state symbols. The second edition of this statewide bestseller includes an additional chapter on Arkansas’s newest symbol: the state dinosaur, Arkansaurus fridayi.
In It’s Official!, David Ware makes a case for considering the symbols as useful keys to understanding both the Arkansas that has been and the one it hopes to be.
In the last twenty-five years the U.S. military has seen the abolition of women's separate corps, the appointment of women generals, and an unprecedented increase in the ratio of women to men. Also, women are now permitted to serve on combat planes and ships. Despite these developments, most civilians know very little about women in the military.
This collection includes unusual accounts by women on active duty, retired officers, women who have worked for the armed forces in a civilian capacity, and civilian academics. The book offers insights on a variety of pressing issues including minority women, lesbians, combat, the role of gender in weapons design, and the changing mission of the military.
Through personal accounts and commentaries, this book dispels many of the myths about women and the military and explores the reasons for the persistence of misconceptions in the face of increased female participation. This comprehensive effort will be of interest to anyone who wants to know the truth about women in the armed forces and will be a wake-up call to women who feel that the military is irrelevant to them.
Contributors: Rhonda Cornum, Virginia Solms, Billie Mitchell, Connie L. Reeves, Brenda L. Moore, Nina Richman-Loo, Rachel Weber, Lucinda Joy Peach, M. C. Devilbiss, Carol Burke, Susan Jeffords, Miriam Cooke.
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