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A scholarly study of how women’s executions were staged, interpreted, and recorded in Renaissance England

A Weak Woman in a Strong Battle: Women and Public Execution in Early Modern England provides critical insights on representations of women on the scaffold, focusing on how female victims and those writing about them constructed meaning from the ritual. Jennifer Lodine-Chaffey draws on a wide range of genres, from accounts of martyrdom to dramatic works, to explore not only the words of women executed in Tudor and Stuart England, but also the ways that writers represented female bodies as markers of penitence or deviance.

A significant part of the execution spectacle—one used to assess the victim’s proper acceptance of death and godly repentance—was the final speech offered at the foot of the gallows or before the pyre. To ensure their final words held value for audiences, women adopted conventionally gendered language and positioned themselves as subservient and modest. The reception of women’s speeches, Lodine-Chaffey argues, depended on their performances of accepted female behaviors and language as well as physical signs of interior regeneration. Indeed, when women presented themselves or were represented as behaving in stereotypically feminine and virtuous ways, they were able to offer limited critiques of their fraught positions in society.

Just as important as their words, though, were the depictions of women’s bodies. The executed woman’s body, Lodine-Chaffey contends, functioned as a text, scrutinized by witnesses and readers for markers of innocence or guilt. The intense focus on the words and bodies of women facing execution during this period, Lodine-Chaffey argues, became a catalyst for a more thorough interest in and understanding of women’s roles not just as criminals but as subjects

While the later work of the great Modernist poet Marianne Moore was hugely popular during her final two decades, since her death critics have condemned it as trivial. This book challenges that assessment: with fresh readings of many of the late poems and of the iconic, cross-dressing public persona Moore developed to deliver them, Apparition of Splendor demonstrates that Moore used her late-life celebrity in daring and innovative ways to activate egalitarian principles that had long animated her poetry. Dressed as George Washington in cape and tricorn and writing about accessible topics like sports, TV shows, holidays, love, activism, mortality and celebrity itself, she reached a wide cross-section of Americans, encouraging them to consider what democracy means in their daily lives, particularly around issues of gender, sexuality, racial integration, class, age, and immigration. Moore actively sought out publication in popular venues (like Vogue, The New Yorker, and the Saturday Evening Post, etc.) and wrote on material chosen to directly appeal to the audiences there, influencing younger contemporaries, including poets like Ashbery, O’Hara, and Bishop, and artists like Warhol, Yoko Ono, and Ray Johnson.

How the “Asian girl” is central to the story of US imperialism and the formation of Asian America

Representations of the “Asian girl” as lucky objects of humanitarian rescue and rehabilitation have been used to advance America’s imperial ambitions from World War II to the wars in Korean and Viet Nam. In this compelling work, Sharon N. Tran traces the production and instrumentalization of this figure through an examination of state documents, military newspapers, documentary photographs, and other archival materials. Theorizing “Asian girlhood” as a technology of imperial power, Tran exposes how the Asian girl is invoked as a shield that protects the innocence of US empire while she is excluded from innocence herself—relegated instead to a precarious position between child and adult, human and nonhuman, plaything and laborer.

Offering fresh insight into how imperial power operates, Tran analyzes figures such as the Japanese American school-girl in the context of World War II incarceration, the elusive “camptown girl,” and the objectified image of the “Napalm Girl.” Her innovative feminist approach interrogates the tendency to reclaim innocence for the Asian girl or to reframe her as an empowered woman. She engages the work of writers and artists such as Kiku Hughes, Nora Okja Keller, Aimee Phan, and lê thi diem thúy to demonstrate how Asian American literature offers rich theoretical interventions for critiquing the child–adult dichotomy that underpins key structures of imperial domination, illuminating more capacious conceptions of girlhood.

Restoring the dignity and agency of a figure too often denied both, Asian Girlhood in the Shadows of US Empire is a groundbreaking intersectional contribution to studies of gender, race, childhood, and state power.

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