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The Irish-Catholic Sisters accomplished tremendously successful work in founding charitable organizations in New York City from the Irish famine through the early twentieth century. Maureen Fitzgerald argues that their championing of the rights of the poor—especially poor women—resulted in an explosion of state-supported services and programs. 

Parting from Protestant belief in meager and means-tested aid, Irish Catholic nuns argued for an approach based on compassion for the poor. Fitzgerald positions the nuns' activism as resistance to Protestantism's cultural hegemony. As she shows, Roman Catholic nuns offered strong and unequivocal moral leadership in condemning those who punished the poor for their poverty and unmarried women for sexual transgression. Fitzgerald also delves into the nuns' own communities, from the class-based hierarchies within the convents to the political power they wielded within the city. That power, amplified by an alliance with the local Irish Catholic political machine, allowed the women to expand public charities in the city on an unprecedented scale.

In April 1644, two nuns fled Bologna’s convent for reformed prostitutes. A perfunctory archiepiscopal investigation went nowhere, and the nuns were quickly forgotten. By June of the next year, however, an overwhelming stench drew a woman to the wine cellar of her Bolognese townhouse, reopened after a two-year absence—where to her horror she discovered the eerily intact, garroted corpses of the two missing women.
           
Drawing on over four thousand pages of primary sources, the intrepid Craig A. Monson reconstructs this fascinating history of crime and punishment in seventeenth-century Italy. Along the way, he explores Italy’s back streets and back stairs, giving us access to voices we rarely encounter in conventional histories: prostitutes and maidservants, mercenaries and bandits, along with other “dubious” figures negotiating the boundaries of polite society. Painstakingly researched and breathlessly told, Habitual Offenders will delight historians and true-crime fans alike.

Half Humankind is the first study to provide modernized and annotated editions of the key documents from the controversy about women in Renaissance England. The selections -- ten treatises debating the merits of womankind and six eulogies and condemnations depicting actual women -- range in style from careful logic and studied eloquence to ribald humor and witty parody. Illuminated by an extensive discussion tying the selections to Renaissance society and traditional literature, this volume is an invaluable resource for scholars and students of literature, history, and women's studies.
 

Long relegated to the margins of historical research, the history of women in the American South has rightfully gained prominence as a distinguished discipline. A comprehensive and much-needed tribute to southern women’s history, Half Sisters of History brings together the most important work in this field over the past twenty years.
This collection of essays by pioneering scholars surveys the roots and development of southern women’s history and examines the roles of white women and women of color across the boundaries of class and social status from the founding of the nation to the present. Authors including Anne Firor Scott, Elizabeth Fox-Genovese, Jacquelyn Dowd Hall, and Nell Irwin Painter, among others, analyze women’s participation in prewar slavery, their representation in popular fiction, and their involvement in social movements. In no way restricted to views of the plantation South, other essays examine the role of women during the American Revolution, the social status of Native American women, the involvement of Appalachian women in labor struggles, and the significance of women in the battle for civil rights. Because of their indelible impact on gender relations, issues of class, race, and sexuality figure centrally in these analyses.
Half Sisters of History will be important not only to women’s historians, but also to southern historians and women’s studies scholars. It will prove invaluable to anyone in search of a full understanding of the history of women, the South, or the nation itself.

Contributors. Catherine Clinton, Sara Evans, Elizabeth Fox-Genovese, Jacquelyn Dowd Hall, Jacqueline Jones, Suzanne D. Lebsock, Nell Irwin Painter, Theda Perdue, Anne Firor Scott, Deborah Gray White

Hannah Ryggen (1894–1970) was a Swedish-Norwegian modern artist who began her career as a painter before switching to creating political art in the form of monumental tapestries. Combining the decorative and the political, Ryggen was ahead of her time with her turn to “political weaving.” She was also a feminist with strong communist sympathies involved in the international workers’ movement. Her dramatic, beautiful tapestries were shown at both the Paris and Brussels World’s Fairs, but she was largely forgotten by the international art world in the decades after her death. In recent years, however, as interest in both fiber arts and pioneering women artists has grown, Ryggen’s work has returned to the public eye, with major international exhibitions and fresh attention from curators, collectors, and critics.

A widely recognized authority on Ryggen, Marit Paasche brings this important Scandinavian artist to the foreground in this biography, the first published on Ryggen in English. Paasche looks at Ryggen within the social, political, and cultural contexts of her time and explores how these issues informed her work, from her anti-fascist tapestry that depicted a spear piercing Mussolini’s head to one protesting the war in Vietnam. Published to correspond with a major retrospective in Frankfurt, of which Paasche is one of the curators, Hannah Ryggen is a foundational book that will provide a crucial introduction of this artist to a broader audience.
 

In the fall of 1967, Carol McEldowney, a twenty-four-year-old community organizer living in Cleveland, embarked on a remarkable journey. In a climate of growing domestic unrest and international turmoil, she traveled illegally to North Vietnam with fellow members of Students for a Democratic Society (SDS) to meet the enemy face-to-face. She was determined to understand the foe that had troubled America's leaders in Washington since the end of World War II. With an eye toward history and a recognition of the significance of her journey, McEldowney documented her experiences in the journal reproduced in this book. Through her words we bear witness to a political ideology that saw a connection between the struggles of the poor in America and the tragedy of war-torn Vietnam.

McEldowney first gained the respect of her fellow activists as a student organizer at the University of Michigan. High regard for her intelligence, skill, and hard work with SDS's Economic Recovery Action Program during the years following her graduation in 1964 earned her an invitation to attend an international conference in Czechoslovakia and an offer to continue on to North Vietnam. Though her journal displays only traces of the feminist consciousness that would mark her later political activism, she recorded her observations of North Vietnam clearly aware that she was an outsider—a woman not subject to the military draft, not married to a soldier, and without the heartache of a brother or even a close friend serving in the war.

McEldowney searched for glimpses of everyday life that would help her to better relate to women in Hanoi and the hardships they faced during wartime. As she traveled in North Vietnam, she sought a deeper understanding of the events of her time. Her journal provides readers with a unique lens through which to study those events and gain a new perspective on the Vietnam War era.

 

In this concise, engaging book, Eva Illouz subjects the Fifty Shades cultural phenomenon to the serious scrutiny it has been begging for. After placing the trilogy in the context of best-seller publishing, she delves into its remarkable appeal, seeking to understand the intense reading pleasure it provides and how that resonates with the structure of relationships between men and women today. Fifty Shades, Illouz argues, is a gothic romance adapted to modern times in which sexuality is both a source of division between men and women and a site to orchestrate their reconciliation. As for the novels’ notorious depictions of bondage, discipline, and sadomasochism, Illouz shows that these are as much a cultural fantasy as a sexual one, serving as a guide to a happier romantic life. The Fifty Shades trilogy merges romantic fantasy with self-help guide—two of the most popular genres for female readers.

 

Over the years Missouri women have endured many hardships: Civil War troops in their homes, the harshness of westward travel, the loneliness of the Gold Rush, and slavery. They have also greatly influenced the state's history. Marie Watkins Oliver made the state flag; Margaret Nelson Stephens was a gifted politician; Carry A. Nation fought for prohibition; and Mary Ezit Bulkley was active in the woman suffrage movement.

Hardship and Hope brings to life these and other known and unknown Missouri women through their own writings in journals, letters, diaries, and memoirs. Most of these pieces have never been published or have long been out of print. Carla Waal and Barbara Oliver Korner have skillfully crafted this anthology to represent myriad Missouri women. There are pieces representing the experiences of Jewish, Irish, and German immigrants, African Americans, well-educated women, and deeply religious women. Preceding each entry is a useful introduction that provides history and background on the woman and her work.

Readers will meet women like Phoebe Wilson Couzins, who was the first woman law graduate in Missouri. She went on to work with Susan B. Anthony for the suffrage movement but died in poverty, physically handicapped and emotionally unstable. Emma J. Ray was born a slave just before the Civil War. She and her husband did missionary work in jails and on the streets of Kansas City. Other women represented are Laura Ingalls Wilder, Kate Chopin, Fannie Hurst, and Henriette Geisberg Bruns.

Hardship and Hope began as a series of performances around the state of Missouri through which the book's editors demonstrated the roles women played in that state's past. Because of the enthusiastic response to their performances, Waal and Korner continued searching for documents by Missouri women and now share their discoveries in book form. Covering a little more than a century, from just before Missouri's admission to the Union in 1821 to the ratification of the Nineteenth Amendment that gave women the right to vote in 1920, the excerpts here both captivate and inform.

This anthology will appeal to those interested in women's studies, Missouri and midwestern history, and oral interpretation.

Harem Histories is an interdisciplinary collection of essays exploring the harem as it was imagined, represented, and experienced in Middle Eastern and North African societies, and by visitors to those societies. One theme that threads through the collection is the intimate interrelatedness of West and East evident in encounters within and around the harem, whether in the elite socializing of precolonial Tunis or the popular historical novels published in Istanbul and Cairo from the late nineteenth century onward. Several of the contributors focus on European culture as a repository of harem representations, but most of them tackle indigenous representations of home spaces and their significance for how the bodies of men and women, and girls and boys, were distributed in social space, from early Islamic Mecca to early-twentieth-century Cairo.

Contributors. Asma Afsaruddin, Orit Bashkin, Marilyn Booth, Nadia Maria El Cheikh, Julia Clancy-Smith, Joan DelPlato, Jateen Lad, Nancy Micklewright, Yaseen Noorani, Leslie Peirce, Irvin Cemil Schick, A. Holly Schissler, Heghnar Zeitlian Watenpaugh

Harriet Hosmer (1830–1908) was celebrated as one of the country's most respected artists, credited with opening the field of sculpture to women and cited as a model of female ability and American refinement. In this biographical study, Kate Culkin explores Hosmer's life and work and places her in the context of a notable group of expatriate writers and artists who gathered in Rome in the mid-nineteenth century.

In 1852 Hosmer moved from Boston to Rome, where she shared a house with actress Charlotte Cushman and soon formed close friendships with such prominent expatriates as Robert and Elizabeth Barrett Browning and fellow sculptors John Gibson, Emma Stebbins, and William Wetmore Story. References to Hosmer or characters inspired by her appear in the work of Nathaniel Hawthorne, Louisa May Alcott, and Kate Field among others. Culkin argues that Hosmer's success was made possible by her extensive network of supporters, including her famous friends, boosters of American gentility, and women's rights advocates. This unlikely coalition, along with her talent, ambition, and careful maintenance of her public profile, ultimately brought her great acclaim. Culkin also addresses Hosmer's critique of women's position in nineteenth-century culture through her sculpture, women's rights advocates' use of high art to promote their cause, the role Hosmer's relationships with women played in her life and success, and the complex position a female artist occupied within a country increasingly interested in proving its gentility.

Since the Korean War—the forgotten war—more than a million Korean women have acted as sex workers for U.S. servicemen. More than 100,000 women married GIs and moved to the United States. Through intellectual vigor and personal recollection, Haunting the Korean Diaspora explores the repressed history of emotional and physical violence between the United States and Korea and the unexamined reverberations of sexual relationships between Korean women and American soldiers. 

Grace M. Cho exposes how Koreans in the United States have been profoundly affected by the forgotten war and uncovers the silences and secrets that still surround it, arguing that trauma memories have been passed unconsciously through a process psychoanalysts call “transgenerational haunting.” Tracing how such secrets have turned into “ghosts,” Cho investigates the mythic figure of the yanggongju, literally the “Western princess,” who provides sexual favors to American military personnel. She reveals how this figure haunts both the intimate realm of memory and public discourse, in which narratives of U.S. benevolence abroad and assimilation of immigrants at home go unchallenged. Memories of U.S. violence, Cho writes, threaten to undo these narratives—and so they have been rendered unspeakable.

At once political and deeply personal, Cho’s wide-ranging and innovative analysis of U.S. neocolonialism and militarism under contemporary globalization brings forth a new way of understanding—and remembering—the impact of the Korean War.

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

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

The book begins with an examination of the influence exerted by the women in Hawthorne's immediate family. It goes on to explore his links to a broad range of women writers, as well as his attitudes toward the female characters he created. Among the authors discussed are Margaret Fuller, Harriet Beecher Stowe, Louisa May Alcott, Emily Dickinson, Sarah Orne Jewett, Willa Cather, Charlotte Perkins Gilman, George Eliot, Virginia Woolf, Flannery O'Connor, and Toni Morrison.

This book explores the deeply emotional yet enigmatic relationship between two nineteenth-century American writers, showing how Margaret Fuller's radical ideas about women's rights, equality of the sexes, and the nature of marriage influenced Nathaniel Hawthorne's writing.

Drawing on recently published letters and journals, Thomas R. Mitchell describes how Julian Hawthorne's misrepresentation of his father's relationship with Fuller destroyed her literary reputation, promoted Hawthorne as a defender of conservative values, and continues to obscure the depth of Hawthorne's personal and intellectual involvement with her. Mitchell concludes that far from being repulsed by Fuller and her assertiveness--as many scholars have claimed--Hawthorne experienced with her perhaps the most intimate relationship that he ever had with a woman, his wife alone excepted.

Blending biography, cultural history, and literary and psychological analysis, Hawthorne's Fuller Mystery raises provocative questions about the origins and intent of Hawthorne's greatest works and offers compelling new readings of "Rapaccini's Daughter," The Scarlet Letter, The Blithedale Romance, and The Marble Faun.

In this book, one of modernism's most insightful critics, Jane Marcus, examines the writings of novelists such as Virginia Woolf, Nancy Cunard, Mulk Raj Anand, and Djuna Barnes-artists whose work coincided with the end of empire and the rise of fascism before the Second World War. All these writers delved into the "dark hearts" of imperialism and totalitarianism, thus tackling some of the most complex cultural issues of the day. Marcus investigates previously unrecognized ways in which social and political tensions are embodied by their works.

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

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

In 1961, Helen Andelin, housewife and mother of eight, languished in a lackluster, twenty-year-old marriage. A religious woman, she fasted and prayed for help. As she studied a set of women’s advice booklets from the 1920s, Andelin had an epiphany that not only changed her life but also affected the lives of millions of American women. She applied the principles from the booklets and found that her disinterested husband became loving and attentive. He bought her gifts and hurried home from work to be with her. Andelin took her new-found happiness as a sign that it was her religious duty to share these principles with other women. She began leading small discussion groups for women at her church. The results were dramatic. In 1963, at the urging of her followers, Andelin wrote and self-published Fascinating Womanhood. The book, which borrowed heavily from those 1920s advice booklets, the Bible, and classical literature, eventually sold over three million copies and launched a nationwide organization of classes and seminars led by thousands of volunteer teachers.

Countering second-wave feminists in the 1960s, Andelin preached family values and urged women not to have careers, but to become good wives, mothers, and homemakers instead. A woman’s true happiness, taught Andelin, could only be realized if she admired, cared for, and obeyed her husband. As Andelin’s notoriety grew, so did the backlash from her critics. Undeterred, she became a national celebrity, who was interviewed extensively and appeared in sold-out speaking engagements.

Andelin’s message calling for the return to traditional roles appealed to many in a time of uncertainty and radical social change. This study provides an evenhanded and important look at a crucial, but often overlooked cross section of American women as they navigated their way through the turbulent decades following the post-war calm of the 1950s.

Winner of the Mormon History Association's Best Biography Award.

The prevailing assumption regarding the Victorians’ relationship to ancient Greece is that Greek knowledge constituted an exclusive discourse within elite male domains. Heretical Hellenism: Women Writers, Ancient Greece, and the Victorian Popular Imagination challenges that theory and argues that while the information women received from popular sources was fragmentary and often fostered intellectual insecurities, it was precisely the ineffability of the Greek world refracted through popular sources and reconceived through new fields of study that appealed to women writers’ imaginations.

Examining underconsidered sources such as theater history and popular journals, Shanyn Fiske uncovers the many ways that women acquired knowledge of Greek literature, history, and philosophy without formal classical training. Through discussions of women writers such as Charlotte Brontë, George Eliot, and Jane Harrison, Heretical Hellenism demonstrates that women established the foundations of a heretical challenge to traditional humanist assumptions about the uniformity of classical knowledge and about women’s place in literary history.

Heretical Hellenism provides a historical rationale for a more expansive definition of classical knowledge and offers an interdisciplinary method for understanding the place of classics both in the nineteenth century and in our own time.

How women-only communities provide spaces for new forms of culture, sociality, gender, and sexuality

Women’s lands are intentional, collective communities composed entirely of women. Rooted in 1970s feminist politics, they continue to thrive in a range of ways, from urban households to isolated rural communes, providing spaces where ideas about gender, sexuality, and sociality are challenged in both deliberate and accidental ways. Herlands, a compelling ethnography of women’s land networks in the United States, highlights the ongoing relevance of these communities as vibrant cultural enclaves that also have an impact on broader ideas about gender, women’s bodies, lesbian identity, and right ways of living.

As a participant-observer, Keridwen N. Luis brings unique insights to the lives and stories of the women living in these communities. While documenting the experiences of specific spaces in Massachusetts, Tennessee, New Mexico, and Ohio, Herlands also explores the history of women’s lands and breaks new ground exploring culture theory, gender theory, and how lesbian identity is conceived and constructed in North America. Luis also discusses how issues of race and class are addressed, the ways in which nudity and public hygiene challenge dominant constructions of the healthy or aging body, and the pervasive influence of hegemonic thinking on debates about transgender women. Luis finds that although changing dominant thinking can be difficult and incremental, women’s lands provide exciting possibilities for revolutionary transformation in society.

Tracing the Victorian crisis over the representation of working-class women to the 1842 Parliamentary bluebook on mines, with its controversial images of women at work, Hidden Hands argues that the female industrial worker became even more dangerous to represent than the prostitute or the male radical because she exposed crucial contradictions between the class and gender ideologies of the period and its economic realities.

Drawing on the recent work of feminist historians, Patricia Johnson lays the groundwork for a reinterpretation of Victorian social-problem fiction that highlights its treatment of issues that particularly affected working-class women: sexual harassment; the interconnections between domestic ideology and domestic violence; their relationships to male-dominated working-class movements such as Luddism, Chartism, and unionism; and their troubled connection to middle-class feminism.

Uncovering a series of images in Victorian fiction ranging from hot-tempered servants and sexually harassed factory girls to working-class homemakers pictured as beaten dogs, Hidden Hands demonstrates that representations of working-class women, however marginalized or incoherent, reveal the very contradictions they are constructed to hide and that the dynamics of these representations have broad implications both for other groups, such as middle-class women, and for the emergence of working-class women as writers themselves.

Palomitáy is an orphanage in highland Peru that provides a home for unmarried mothers as young as twelve years old. In their ordinary lives, these young women encounter diverse social expectations and face moral dilemmas. They endeavor to create a ‘good life’ for themselves and their children in a context complicated by competing demands, economic uncertainties, and structured relations of power. Drawing on a year of qualitative on-site research, Krista E. Van Vleet offers a rich ethnography of Palomitáy's young women. She pays particular attention to the moral entanglements that emerge via people's efforts to provide care amid the inequalities and insecurities of today's Peru. State and nonstate participants involved in the women's intimate lives influence how the women see themselves as mothers, students, and citizens. Both deserving of care and responsible for caring for others, the young women must navigate practices interwoven with a range of a racial, gendered, and class hierarchies. Groundbreaking and original, Hierarchies of Care highlights the moral engagement of young women seeking to understand themselves and their place in society in the presence of circumstances that are both precarious and full of hope.

High Tech and High Heels in the Global Economy is an ethnography of globalization positioned at the intersection between political economy and cultural studies. Carla Freeman’s fieldwork in Barbados grounds the processes of transnational capitalism—production, consumption, and the crafting of modern identities—in the lives of Afro-Caribbean women working in a new high-tech industry called “informatics.” It places gender at the center of transnational analysis, and local Caribbean culture and history at the center of global studies.
Freeman examines the expansion of the global assembly line into the realm of computer-based work, and focuses specifically on the incorporation of young Barbadian women into these high-tech informatics jobs. As such, Caribbean women are seen as integral not simply to the workings of globalization but as helping to shape its very form. Through the enactment of “professionalism” in both appearances and labor practices, and by insisting that motherhood and work go hand in hand, they re-define the companies’ profile of “ideal” workers and create their own “pink-collar” identities. Through new modes of dress and imagemaking, the informatics workers seek to distinguish themselves from factory workers, and to achieve these new modes of consumption, they engage in a wide array of extra income earning activities. Freeman argues that for the new Barbadian pink-collar workers, the globalization of production cannot be viewed apart from the globalization of consumption. In doing so, she shows the connections between formal and informal economies, and challenges long-standing oppositions between first world consumers and third world producers, as well as white-collar and blue-collar labor.
Written in a style that allows the voices of the pink-collar workers to demonstrate the simultaneous burdens and pleasures of their work, High Tech and High Heels in the Global Economy will appeal to scholars and students in a wide range of disciplines, including anthropology, cultural studies, sociology, women’s studies, political economy, and Caribbean studies, as well as labor and postcolonial studies.

The charge of inauthenticity has trailed Hillary Clinton from the moment she entered the national spotlight and stood in front of television cameras. Hillary Clinton in the News: Gender and Authenticity in American Politics shows how the U.S. news media created their own news frames of Clinton's political authenticity and image-making, from her participation in Bill Clinton's 1992 presidential campaign through her own 2008 presidential bid.

Using theories of nationalism, feminism, and authenticity, Parry-Giles tracks the evolving ways the major networks and cable news programs framed Clinton's image as she assumed roles ranging from surrogate campaigner, legislative advocate, and financial investor to international emissary, scorned wife, and political candidate.  This study magnifies how the coverage that preceded Clinton's entry into electoral politics was grounded in her earliest presence in the national spotlight, and in long-standing nationalistic beliefs about the boundaries of authentic womanhood and first lady comportment. Once Clinton dared to cross those gender boundaries and vie for office in her own right, the news exuded a rhetoric of sexual violence. These portrayals served as a warning to other women who dared to enter the political arena and violate the protocols of authentic womanhood.

A PopMatters Best Non-Fiction Book of 2020

From the 1930s to the 1960s, the booming popularity of country music threw a spotlight on a new generation of innovative women artists. These individuals blazed trails as singers, musicians, and performers even as the industry hemmed in their potential popularity with labels like woman hillbilly, singing cowgirl, and honky-tonk angel.

Stephanie Vander Wel looks at the careers of artists like Patsy Montana, Rose Maddox, and Kitty Wells against the backdrop of country music's golden age. Analyzing recordings and appearances on radio, film, and television, she connects performances to real and imagined places and examines how the music sparked new ways for women listeners to imagine the open range, the honky-tonk, and the home. The music also captured the tensions felt by women facing geographic disruption and economic uncertainty. While classic songs and heartfelt performances might ease anxieties, the subject matter underlined women's ambivalent relationships to industrialism, middle-class security, and established notions of femininity.

Throughout Africa, artists use hip-hop both to describe their lives and to create shared spaces for uncensored social commentary, feminist challenges to patriarchy, and resistance against state institutions, while at the same time engaging with the global hip-hop community. In Hip-Hop in Africa, Msia Kibona Clark examines some of Africa’s biggest hip-hop scenes and shows how hip-hop helps us understand specifically African narratives of social, political, and economic realities.

Clark looks at the use of hip-hop in protest, both as a means of articulating social problems and as a tool for mobilizing listeners around those problems. She also details the spread of hip-hop culture in Africa following its emergence in the United States, assessing the impact of urbanization and demographics on the spread of hip-hop culture.

Hip-Hop in Africa is a tribute to a genre and its artists as well as a timely examination that pushes the study of music and diaspora in critical new directions. Accessibly written by one of the foremost experts on African hip-hop, this book will easily find its place in the classroom.

In this brave and original work, Federica Clementi focuses on the mother-daughter bond as depicted in six works by women who experienced the Holocaust, sometimes with their mothers, sometimes not. The daughters’ memoirs, which record the “all-too-human” qualities of those who were persecuted and murdered by the Nazis, show that the Holocaust cannot be used to neatly segregate lives into the categories of before and after. Clementi’s discussions of differences in social status, along with the persistence of antisemitism and patriarchal structures, support this point strongly, demonstrating the tenacity of trauma—individual, familial, and collective—among Jews in twentieth-century Europe.

Is there a resemblance between the contemporary anorexic teenager counting every calorie in her single-minded pursuit of thinness, and an ascetic medieval saint examining her every desire? Rudolph M. Bell suggests that the answer is yes.

"Everyone interested in anorexia nervosa . . . should skim this book or study it. It will make you realize how dependent upon culture the definition of disease is. I will never look at an anorexic patient in the same way again."—Howard Spiro, M.D., Gastroenterology

"[This] book is a first-class social history and is well-documented both in its historical and scientific portions."—Vern L. Bullough, American Historical Review

"A significant contribution to revisionist history, which re-examines events in light of feminist thought. . . . Bell is particularly skillful in describing behavior within its time and culture, which would be bizarre by today's norms, without reducing it to the pathological."—Mary Lassance Parthun, Toronto Globe and Mail

"Bell is both enlightened and convincing. His book is impressively researched, easy to read, and utterly fascinating."—Sheila MacLeod, New Statesman

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

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

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

Drawing attention to domestic space as the critical juncture between the global and the local, Home Away from Home is an innovative ethnography of the daily lives of middle-class Japanese housewives who accompany their husbands on temporary corporate job assignments in the United States. These women are charged with the task of creating and maintaining restful Japanese homes in a foreign environment so that their husbands are able to remain productive, loyal workers for Japanese multinationals and their children are properly socialized and educated as Japanese citizens abroad. Arguing that the homemaking components of transnational communities have not received adequate attention, Sawa Kurotani demonstrates how gender dynamics and the politics of the domestic sphere are integral to understanding national identity and transnational mobility.

Kurotani interviewed and spent time with more than 120 women in three U.S. locations with sizable expatriate Japanese communities: Centerville, a pseudonymous Midwestern town; the New York metropolitan area; and North Carolina’s Research Triangle area. She highlights the contradictory situations faced by the transient wives. Their husbands’ assignments in the United States typically last from three to five years, and they frequently emphasize the temporariness of their situation, referring to it as a “long vacation.” Yet they are responsible for creating comfortable homes for their families, which necessitates producing a familiar and permanent environment. Kurotani looks at the dynamic friendships that develop among the wives and describes their feelings about returning to Japan. She conveys how their sense of themselves as Japanese women, of home, and of their relationships with family members are altered by their personal experiences of transnational homemaking.