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Books : Literature & Fiction : World Literature : United States : History & Criticism : Women
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A collection of twentieth-century stories by Jewish women, featuring some of the best short story writers in American fiction. From Anzia Yezierska and Edna Ferber to Cynthia Ozick, Grace Paley, and Susan Fromberg Schaeffer, these writers reveal a rich, vital, and innovative tradition.
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Women, Autobiography, Theory is the first comprehensive guide to the burgeoning field of womens autobiography, drawing into one volume the most significant theoretical discussions on womens life writing of the last two decades. The authoritative introduction by Sidonie Smith and Julia Watson surveys writing about womens lives from the womens movement of the late 1960s to the present. It also relates theoretical positions in womens autobiography studies to postmodern, poststructuralist, postcolonial, and feminist analyses. The essays from thirty-nine prominent critics and writers include many considered classics in this field. They explore narratives across the centuries and from around the globe, including testimonios, diaries, memoirs, letters, trauma accounts, prison narratives, coming-out stories, coming-of-age stories, and spiritual autobiographies. A list of more than two hundred womens autobiographies and a comprehensive bibliography of critical scholarship in womens autobiography provide invaluable information for scholars, teachers, and readers.There is no other reader like this one on theories of womens autobiography, despite the now wide-ranging approaches to this field. . . . It has the merit of combining within the genre of autobiography criticism many of the critical issues that have been paramount during the past two decades, incorporating and going beyond what both feminism and cultural studies have attempted. Important and timely.Franoise Lionnet, Northwestern University
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How women and feminism helped to shape science fiction in America.
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This collection of twelve essays discusses the principles and practices of women's autobiographical writing in the United States, England, and France from the eighteenth to the twentieth centuries.
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"Fetterley's questions are often so crucial, her observations repeatedly so acute, that they force us to ask how we avoided them in the past." -- Women's Studies International Quarterly
"... thoughtful, informed, and well written." -- Choice
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This publication marks the first time in a hundred years that a wide range of nineteenth-century American women's poetry has been accessible to the general public in a single volume. Included are the humorous parodies of Phoebe Cary and Mary Weston Fordham and the stirring abolitionist poems of Lydia Sigourney, Frances Harper, Maria Lowell, and Rose Terry Cooke. Included, too, are haunting reflections on madness, drug use, and suicide of women whose lives, as Cheryl Walker explains, were often as melodramatic as the poems they composed and published. In addition to works by more than two dozen poets, the anthology includes ample headnotes about each author's life and a brief critical evaluation of her work. Walker's introduction to the volume provides valuable contextual material to help readers understand the cultural background, economic necessities, literary conventions, and personal dynamics that governed women's poetic production in the nineteenth century.
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" In 1946, at the age of 41, Janice Holt Giles wrote her first novel. Although it took her only three months to complete the first draft, working at night so as not to conflict with her secretarial job, it was another four years before The Enduring Hills was published. Three years later, when her sixth novel appeared, Janice Holt Giles's works had accumulated sales of nearly two million copies. Between 1950 and 1975 she wrote twenty-four books, most of which were bestsellers, regularly reviewed in the New York Times, and selected for inclusion in popular book clubs. Her picture held pride of place in her literary agent's New York office, alongside those of Willa Cather, H.G. Wells, and Edith Wharton, yet until now there has been no biography of this immensely popular American writer. Humbly professing to be ""just a good storyteller,"" Giles was a keen observer of life with great sensitivity, an ear for language, and a superb imagination. Her artistic achievements become even more remarkable when placed in the context of her often difficult personal struggles. Dianne Watkins Stuart, for years the acknowledged expert on Giles's work, has traced the path of her unique life. Stuart walked around the small house where Giles's brother was born and The Kinta Years (1973) had its origin, wandered through the yard where The Plum Thicket (1954) grew, and made countless trips to Adair County, Kentucky, to trace the trails of the Piney Ridge trilogy (The Enduring Hills, Miss Willie, Tara's Healing) and seek out the day-to-day life of her later years. Stuart's long-anticipated biography provides both a narrative of Giles's life and an in-depth description of the art and commerce of American publishing in the middle years of the century. Dianne Watkins Stuart is former education curator of the Kentucky Museum and editor of Hello, Janice: The Wartime Letters of Henry Giles.
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The Web of Iniquity is a study of detective fiction written by American women between the Civil War and World War II. Refuting the idea that no American detective fiction of substance was produced between the times of Edgar Allan Poe and Dashiell Hammett, Catherine Ross Nickerson shows how these women writers blended Gothic elements into domestic fiction to create a unique and all-but-ignored subgenre that she labels "domestic detective fiction."This subgenre allowed women writers to participate in postbellum culture and to critique other aspects of a rapidly changing society. Domestic detective fiction combined elements of sensationalist papers, popular nonfiction crime stories, and the domestic novel. Nickerson shows how it also incorporated the gothic tropes found in the work of Harriet Beecher Stowe, Louisa May Alcott, and Charlotte Bront and influenced the work of Pauline Hopkins. Mid-nineteenth-century writer Metta Fuller Victor, who represented such important areas of cultural conflict as the role of professions in the formation of class identity and the possibility of women's independence and self-determination, paved the way for the appearance of women detectives in the late-nineteenth-century fiction of Anna Katharine Green. Nickerson credits Mary Roberts Rinehart, in particular, for bringing sophistication to the subgenre by amplifying the humorous, terrifying, and feminist elements inherent in ear! lier detective novels by women. Throughout the volume, Nickerson focuses on the narrative qualities of the domestic novel tradition and the ways in which it reflected ideologies of domesticity and gender. Also included are a discussion of various rewritings of the Lizzie Borden scandal in this tradition and an afterword on the relation of domestic detective fiction to the hard-boiled style.
The Web of Iniquity places the detective fiction written by women between 1850 and 1940 into ongoing discussions regarding women, culture, and literature and will appeal to scholars and students of women's studies, American studies, and literary history.
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Sylvia Plath is widely recognized as one of the leading figures in twentieth-century Anglo-American literature and culture. Her work has constantly remained in print in the UK and US (and in numerous translated editions) since the appearance of her first collection in 1960. Plath's own writing has been supplemented over the decades by a wealth of critical and biographical material. The Cambridge Introduction to Sylvia Plath provides an authoritative and comprehensive guide to the poetry, prose and autobiographical writings of Sylvia Plath. It offers a critical overview of key readings, debates and issues from almost fifty years of Plath scholarship, draws attention to the historical, literary, national and gender contexts which frame her writing and presents informed and attentive readings of her own work. This accessibly written book will be of great use to students beginning their explorations of this important writer.
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Argues that Jackson anticipated the transition from modernism to postmodernism and should be ranked among the most significant writers of her time.
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Focusing on the lives and works of a number of 19th-century black women activists - Sojourner Truth, Maria Stewart, Harriet A. Jacobs, Nancy Prince and Jarena Lee among others - the author of this study explores the contributions made by black women to racial uplift efforts in the north of the USA.
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In this enthralling anthology, 34 contributors, including Margaret Atwood and Ted Gallagher, provide the literary answer to why women have gone, and will always go, fishing. Includes a list of fishing organizations and resources for fisherwomen.18 illustrations .
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The Truth That Never Hurts brings together for the first time more than two decades of literary criticism and political thought about gender, race, sexuality, power, and social change. As one of the first writers in the United States to claim Black feminism for Black women in the early seventies, Barbara Smith has done groundbreaking work in defining a Black women's literary tradition; in examining the sexual politics of the lives of Black and other women of color; in representing the lives of Black lesbians and gay men; and in making connections between race, class, sexuality, and gender.
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A comprehensive collection of twentieth-century US women's writing, this volume contains works by over 150 women writing in a variety of genres. Works include not only fiction, drama, and poetry, but various nonfiction forms (autobiography, movement writing, journalism, essay) as well as other creative forms (opera libretto, spoken word, song lyrics, stand-up comedy).
A sample of the writers, A through C: Elmaz Abinader, Jane Addams, Etel Adnan, Marjorie Agosin, Ai, Elizabeth Alexander, Paula Gunn Allen, Dorothy Allison, Maya Angelou, Gloria Anzaldúa, Harriette Arnow, Mary Austin, Toni Cade Bambara, Djuna Barnes, Gwendolyn Bennett, Mei-mei Berssenbrugge, Bikini Kill, Elizabeth Bishop, Louise Bogan, Lucille Bogan, Marita Bonner, Kay Boyle, Beth Brant, Gwendolyn Brooks, Rita Mae Brown, Pauline Russell Browne, Minnie Bruce Pratt, Octavia Butler, Patrick Califia-Rice, Janet Campbell Hale, Dorothy Canfield Fisher, Luisa Capetillo, Ana Castillo, Willa Sibert Cather, Lorna Dee Cervantes, Theresa Hak Kyung Cha, Alice Childress, Marilyn Chin, Margaret Cho, Meg Christian, Chrystos, Frances Chung, Sandra Cisneros, Amy Clampitt, Michelle Cliff, Lucille Clifton, Judith Ortiz Cofer, Wanda Coleman, Lucha Corpi, Mae V. Cowdery, Ida Cox, Ina Cumpiano, Agnes Cunningham, and Silvia Curbelo.
The writers D through Z are just as diverse, just as comprehensive. The volume includes a preface, headnotes, annotations, and author/title index.
Co-editors: Juliana Chang, assistant professor of English, Santa Clara University; Linda S. Garber, associate professor of English, Santa Clara University; Michelle Gibson, associate professor of women’s studies, University of Cincinnati; Anahid Kassabian, James and Constance Alsop chair of music at the University of Liverpool; Deborah Meem, professor of English, University of Cincinnati; Rhonda Pettit, associate professor of English and women’s studies, University of Cincinnati; Maria J. Saldaña, associate professor of English, Rutgers University.
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Harper Roberts is a corporate attorney in Manhattan.She’s smart, attractive, and funny. So whycan’t she find a date? Men flock to her at parties whenthey think she’s a dumb blonde. But, as soon as theyrealise she’s a Harvard-educated lawyer, they flee.Harper’s best friend is a magazine editor whosuggests Harper go on assignment for a month as a 'dumb blonde' andsee if it changes her dating perspective. So, for two weeks, Harpergoes undercover. She changes her wardrobe, her conversation, her bodylanguage. The result is a series of comical encounters.Soon, Harper must take a good look in the mirror and realise thatit’s not just men who judge people on theirlooks.