—Susan Straight, author of Highwire Moon
Southland brings us a fascinating story of race, love, murder and history, against the backdrop of an ever-changing Los Angeles. A young Japanese-American woman, Jackie Ishida, is in her last semester of law school when her grandfather, Frank Sakai, dies unexpectedly. While trying to fulfill a request from his will, Jackie discovers that four African-American boys were killed in the store Frank owned during the Watts Riots of 1965. Along with James Lanier, a cousin of one of the victims, Jackie tries to piece together the story of the boys’ deaths. In the process, she unearths the long-held secrets of her family’s history.
Southland depicts a young woman in the process of learning that her own history has bestowed upon her a deep obligation to be engaged in the larger world. And in Frank Sakai and his African-American friends, it presents characters who find significant common ground in their struggles, but who also engage each other across grounds—historical and cultural—that are still very much in dispute.
Moving in and out of the past—from the internment camps of World War II, to the barley fields of the Crenshaw District in the 1930s, to the streets of Watts in the 1960s, to the night spots and garment factories of the 1990s—Southland weaves a tale of Los Angeles in all of its faces and forms.
Nina Revoyr is the author of The Necessary Hunger ("Irresistible."—Time Magazine). She was born in Japan, raised in Tokyo and Los Angeles, and is of Japanese and Polish-American descent. She lives and works in Los -Angeles.
Arguing that traditional feminism is wrong to look to a natural, 'essential' notion of the female, or indeed of sex or gender, Butler starts by questioning the category 'woman' and continues in this vein with examinations of 'the masculine' and 'the feminine'. Best known however, but also most often misinterpreted, is Butler's concept of gender as a reiterated social performance rather than the expression of a prior reality.
Thrilling and provocative, few other academic works have roused passions to the same extent.
"On the last day of December, 2009 Kate Zambreno began a blog called " Frances Farmer Is My Sister," arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, "Frances Farmer Is My Sister "helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.
In "Heroines," Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it--from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism--she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor," and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.
A lyrical, philosophical, and often explicit exploration of personal suffering and the limitations of vision and love, as refracted through the color blue. With Bluets, Maggie Nelson has entered the pantheon of brilliant lyric essayists.
Maggie Nelson is the author of numerous books of poetry and nonfiction, including Something Bright, Then Holes (Soft Skull Press, 2007) and Women, the New York School, and Other True Abstractions (University of Iowa Press, 2007). She lives in Los Angeles and teaches at the California Institute of the Arts.
A Good Man Is Hard to Find is Flannery O'Connor's most famous and most discussed story. O'Connor herself singled it out by making it the title piece of her first collection and the story she most often chose for readings or talks to students. It is an unforgettable tale, both riveting and comic, of the confrontation of a family with violence and sudden death. More than anything else O'Connor ever wrote, this story mixes the comedy, violence, and religious concerns that characterize her fiction.
This casebook for the story includes an introduction by the editor, a chronology of the author's life, the authoritative text of the story itself, comments and letters by O'Connor about the story, critical essays, and a bibliography. The critical essays span more than twenty years of commentary and suggest several approaches to the storyÐÐformalistic, thematic, deconstructionistÐÐ all within the grasp of the undergraduate, while the introduction also points interested students toward still other resources. Useful for both beginning and advanced students, this casebook provides an in-depth introduction to one of America's most gifted modern writers.
The contributors are Michael O. Bellamy, Hallman B. Bryant, William S. Doxey, J. Peter Dyson, Madison Jones, W. S. Marks, III, Carter Martin, William J. Scheick, Mary Jane Schenck, and J. O. Tate.
To that end, Glenn locates women's contributions to and participation in the rhetorical tradition and writes them into an expanded, inclusive tradition. She regenders the tradition by designating those terms of identity that have promoted and supported men's control of public, persuasive discourse -- the culturally constructed social relations between, the appropriate roles for, and the subjective identities of women and men.
Glenn is the first scholar to contextualize, analyze, and follow the migration of women's rhetorical accomplishments systematically. To locate these women, she follows the migration of the Western intellectual tradition from its inception in classical antiquity and its confrontation with and ultimate appropriation by evangelical Christianity to its force in the medieval Church and in Tudor arts and politics.
Glenn sets the scope of her study from antiquity to the Renaissance for several reasons, not the least of which is that the Enlightenment saw the end of classical rhetoric as the dominant and most influential system of education and communication. Equally important, the Enlightenment brought about the demise of the one-sex model of humanity that centered on the telos of perfect maleness --with women and children being perceived as undeveloped men.
Glenn expands the history of rhetoric by including the contributions of women. She is not writing a compensatory history or a history of rhetoric by women; she is integrating the rhetorical accomplishments of women into the context of the male-dominated and male-documented rhetorical tradition and, in the process, enriching that tradition.
Rebecca Mead was a young woman in an English coastal town when she first read George Eliot's Middlemarch, regarded by many as the greatest English novel. After gaining admission to Oxford, and moving to the United States to become a journalist, through several love affairs, then marriage and family, Mead read and reread Middlemarch. The novel, which Virginia Woolf famously described as "one of the few English novels written for grown-up people," offered Mead something that modern life and literature did not.
In this wise and revealing work of biography, reporting, and memoir, Rebecca Mead leads us into the life that the book made for her, as well as the many lives the novel has led since it was written. Employing a structure that deftly mirrors that of the novel, My Life in Middlemarch takes the themes of Eliot's masterpiece--the complexity of love, the meaning of marriage, the foundations of morality, and the drama of aspiration and failure--and brings them into our world. Offering both a fascinating reading of Eliot's biography and an exploration of the way aspects of Mead's life uncannily echo that of Eliot herself, My Life in Middlemarch is for every ardent lover of literature who cares about why we read books, and how they read us.
From the Hardcover edition.
In Dragonwriter, Anne’s son and Pern writer Todd McCaffrey collects memories and stories about the beloved author, along with insights into her writing and legacy, from those who knew her best. Nebula Award–winner Elizabeth Moon relates the lessons she learned from Pern’s Lessa (and from Lessa’s creator); Hugo Award–winner David Brin recalls Anne’s steadfast belief that the world to come will be better than the one before; legendary SFF artist Michael Whelan shares (and tells stories about) never-before-published Pern sketches from his archives; and more.
Join Anne’s co-writers, fellow science fiction authors, family, and friends in remembering her life, and exploring how her mind and pen shaped not only the Weyrs of Pern, but also the literary landscape as we know it.
• Angelina Adams
• David Brin
• David Gerrold
• John Goodwin
• Janis Ian
• Alec Johnson
• Georgeanne Kennedy
• Mercedes Lackey
• Sharon Lee and Steve Miller
• Lois McMaster Bujold
• Elizabeth Moon
• Charlotte Moore
• Robert Neilson
• Jody Lynn Nye and Bill Fawcett
• Robin Roberts
• Elizabeth Ann Scarborough
• Wen Spencer
• Michael Whelan
• Richard J. Woods
• Chelsea Quinn Yarbro
With sources as diverse as A Vindication of the Rights of Woman and Scream 2, Inventing Herself is an expansive and timely exploration of women who possess a boundless determination to alter the world by boldly experiencing love, achievement, and fame on a grand scale. These women tried to work, travel, think, love, and even die in ways that were ahead of their time. In doing so, they forged an epic history that each generation of adventurous women has rediscovered.
Focusing on paradigmatic figures ranging from Mary Wollstonecraft and Margaret Fuller to Germaine Greer and Susan Sontag, preeminent scholar Elaine Showalter uncovers common themes and patterns of these women's lives across the centuries and discovers the feminist intellectual tradition they embodied. The author brilliantly illuminates the contributions of Eleanor Marx, Zora Neale Hurston, Simone de Beauvoir, Margaret Mead, and many more.
Showalter, a highly regarded critic known for her provocative and strongly held opinions, has here established a compelling new Who's Who of women's thought. Certain to spark controversy, the omission of such feminist perennials as Susan B. Anthony, Eleanor Roosevelt, and Virginia Woolf will surprise and shock the conventional wisdom.
This is not a history of perfect women, but rather of real women, whose mistakes and even tragedies are instructive and inspiring for women today who are still trying to invent themselves.
To that end, Glenn locates women’s contributions to and participation in the rhetorical tradition and writes them into an expanded, inclusive tradition. She regenders the tradition by designating those terms of identity that have promoted and supported men’s control of public, persuasive discourse—the culturally constructed social relations between, the appropriate roles for, and the subjective identities of women and men.
Glenn is the first scholar to contextualize, analyze, and follow the migration of women’s rhetorical accomplishments systematically. To locate these women, she follows the migration of the Western intellectual tradition from its inception in classical antiquity and its confrontation with and ultimate appropriation by evangelical Christianity to its force in the medieval Church and in Tudor arts and politics.
After the birth of her first child in 2006, Turkish writer Elif Shafek suffered from postpartum depression that triggered a profound personal crisis. Infused with guilt, anxiety, and bewilderment about whether she could ever be a good mother, Shafak stopped writing and lost her faith in words altogether. In this elegantly written memoir, she retraces her journey from free-spirited, nomadic artist to dedicated by emotionally wrought mother. Identifying a constantly bickering harem of women who live inside of her, each with her own characteristics-the cynical intellectual, the goal-oriented go-getter, the practical-rational, the spiritual, the maternal, and the lustful-she craves harmony, or at least a unifying identity. As she intersperses her own experience with the lives of prominent authors such as Sylvia Plath, Virginia Woolf, Alice Walker, Ayn Rand, and Zelda Fitzgerald, Shafak looks for a solution to the inherent conflict between artistic creation and responsible parenting.
With searing emotional honesty and an incisive examination of cultural mores within patriarchal societies, Shafak has rendered an important work about literature, motherhood, and spiritual well-being.
Also included are contemporary works by writers such as Alice Walker and Margaret Atwood that are being incorporated into the curriculum, as well as those advancing a more global view, such as Sandra Cisneros' "House on Mango Street" and Chinua Achebe's "Things Fall Apart." The essays are expertly written in an accessible language that will help students gain greater awareness of gender-related themes. Suggestions for classroom discussions--with selected works for further study--are incorporated into the entries. The volume is organized alphabetically by title and includes both author and subject indexes. An appendix of gender-related themes further enhances this volume's usefulness for curriculum applications and student research projects.
In a culture that advocates the pursuit of endless youth and physical beauty how can we embrace the reality, the pleasures and the rewards of getting on? And what does the 'fight against ageing' mean when all women must eventually face the double-standard of ageism and sexism?
Once past fifty, older women begin to sense that they have become invisible. From the visual displays in the mall to the pages of magazines and the television screens at the heart of our homes, young women with perfect skin, bouncy, enhanced breasts, pouting lips, long straight hair and perfect teeth gaze down on us.
The ageing population is traditionally viewed as a problem; a drain on financial resources, health, housing and community services and a burden on younger generations. But living longer and living well are the triumphs of a civilised society. It is also the future that all generations want for themselves.
Can we change the conversation on ageing? Getting old is tough, but it's also an opportunity to celebrate how far we have come and to shape a different future. In this essay, Liz Byrski (author of Last Chance Café and Bad Behaviour) examines the adventure of growing old in the twenty-first century: the new possibilities, the joy and the sorrow of solitude, the reality of grief and loss and the satisfaction of having travelled so far.
"Writers like Byrski are needed not only for the clarity of their emotional intelligence but for the courage of their political convictions." West Australian
A National Poetry Series winner, chosen by Edward Sanders.
“What power. Smith’s poetry is all poetry. And visceral. Her poems get under the skin of their subjects. Their passion and empathy, their real worldliness, are blockbuster.”—Marvin Bell
“I was weeping for the beauty of poetry when I reached the end of the final poem.”—Edward Sanders, National Poetry Series judge
From Lollapalooza to Carnegie Hall, Patricia Smith has taken the stage as this nation’s premier performance poet. Featured in the film Slamnation and on the HBO series Def Poetry Jam, Smith is back with her first book in over a decade—a National Poetry Series winner weaving passionate, bluesy narratives into an empowering, finely tuned cele-bration of poetry’s liberating power.
Book 2 The Amateur Authorpreneur is out now!
Capturing the jazz rhythms and desperate gaiety that defined the era, Meade gives us Parker, Fitzgerald, Millay, and Ferber, traces the intersections of their lives, and describes the men (F. Scott Fitzgerald, Edmund Wilson, Harold Ross, and Robert Benchley) who influenced them, loved them, and sometimes betrayed them. Here are the social and literary triumphs (Parker's Round Table witticisms appeared almost daily in the newspapers and Ferber and Millay won Pulitzer Prizes) and inevitably the penances each paid: crumbled love affairs, abortions, depression, lost beauty, nervous breakdowns, and finally, overdoses and even madness.
These literary heroines did what they wanted, said what they thought, living wholly in the moment. They kicked open the door for twentieth-century women writers and set a new model for every woman trying to juggle the serious issues of economic independence, political power, and sexual freedom. Meade recreates the excitement, romance, and promise of the 1920s, a decade celebrated for cultural innovation--the birth of jazz, the beginning of modernism--and social and sexual liberation, bringing to light, as well, the anxiety and despair that lurked beneath the nonstop partying and outrageous behavior.
A vibrant mixture of literary scholarship, social history, and scandal, BOBBED HAIR AND BATHTUB GIN is a rich evocation of a period that will forever intrigue and captivate us.
From the Hardcover edition.
-Explanations of historical context
-Citations from Austen’s life, letters, and other writings
-Definitions and clarifications
-Literary comments and analysis
-Maps of places in the novel
-An introduction, bibliography, and detailed chronology of events
-Nearly 200 informative illustrations
Filled with fascinating information about everything from the social status of spinsters and illegitimate children to the shopping habits of fashionable ladies to English attitudes toward gypsies, David M. Shapard’s Annotated Emma brings Austen’s world into richer focus.
diasporic religious practices serves as a transgressive tool in narrative
discourses in the Americas.
Oshun’s Daughters examines
representations of African diasporic religions from novels and poems written by
women in the United States, the Spanish Caribbean, and Brazil. In spite of
differences in age, language, and nationality, these women writers all turn to
variations of traditional Yoruba religion (Santería/Regla de Ocha and
Candomblé) as a source of inspiration for creating portraits of
womanhood. Within these religious systems, binaries that dominate European
thought—man/woman, mind/body, light/dark, good/evil—do not function in the same
way, as the emphasis is not on extremes but on balancing or reconciling these
radical differences. Involvement with these African diasporic religions thus
provides alternative models of womanhood that differ substantially from those
found in dominant Western patriarchal culture, namely, that of virgin, asexual
wife/mother, and whore. Instead we find images of the sexual woman, who enjoys
her body without any sense of shame; the mother, who nurtures her children
without sacrificing herself; and the warrior woman, who actively resists demands
that she conform to one-dimensional stereotypes of womanhood.
Novels include: "*The Song of the Lioness Quartet *The Immortals Quartet *The Protector of the Small Quartet *The Trickster Duology *The Magic Circle Quartet *The Circle Opens Quartet *The Will of the Empress"
At a time when speculative fiction seems less and less far-fetched, Margaret Atwood lends her distinctive voice and singular point of view to the genre in a series of essays that brilliantly illuminates the essential truths about the modern world. This is an exploration of her relationship with the literary form we have come to know as "science fiction,” a relationship that has been lifelong, stretching from her days as a child reader in the 1940s, through her time as a graduate student at Harvard, where she worked on the Victorian ancestor of the form, and continuing as a writer and reviewer. This book brings together her three heretofore unpublished Ellmann Lectures from 2010: "Flying Rabbits," which begins with Atwood's early rabbit superhero creations, and goes on to speculate about masks, capes, weakling alter egos, and Things with Wings; "Burning Bushes," which follows her into Victorian otherlands and beyond; and "Dire Cartographies," which investigates Utopias and Dystopias. In Other Worlds also includes some of Atwood's key reviews and thoughts about the form. Among those writers discussed are Marge Piercy, Rider Haggard, Ursula Le Guin, Ishiguro, Bryher, Huxley, and Jonathan Swift. She elucidates the differences (as she sees them) between "science fiction" proper, and "speculative fiction," as well as between "sword and sorcery/fantasy" and "slipstream fiction." For all readers who have loved The Handmaid's Tale, Oryx and Crake, and The Year of the Flood, In Other Worlds is a must.
From the Hardcover edition.
Every woman knows ... books are more than a way to kill time on the bus — they're therapy that fits in our bag. Whether we're wallowing in a sullen perennial adolescence or our biological clock is ringing and we can't find the snooze button, books are the dog-eared friends that help us deal with our baggage as we navigate life's journey.
Now Bibliotherapy prescribes the best of classic and contemporary Chick Lit that women turn to again and again — for inspiration (A Tree Grows in Brooklyn) ... for escape (Ladder of Years) ... for revenge against the patriarchy (Our Blood) ... and for bonding with our girlfriends (Waiting to Exhale).
Upper-thigh spread sparking a midlife crisis? Read A Lady's Life in the Rocky Mountains and remember that it's not over until the fat lady yodels. Did your pot of gold turn out to be fourteen-karat tin? Open your eyes with Awakening to the Sacred and learn to savor your rainbow. Wondering what all the fuss is about? Climb into bed with Lady Chatterley's Lover and explore your pleasure potential.
With provocative points to ponder as you read ("What is the metaphorical significance of a codpiece?"), fun quotes, and a list of books that must not be read but, in Dorothy Parker's words, "thrown with great force," Bibliotherapy ensures you'll always find the right literary prescription — no matter what phase of life you're teetering on the brink of!
Plus: Doomed but Inspired Heroes ... Books to Read When You're Sick of Your Career and Are Seriously Considering Taking Up Alpaca Ranching in Peru ... Bad Girls We'd Like to Have Over for Girls' Night ... Books That Are the Equivalent of Citronella for Men ... and much more!
From the Trade Paperback edition.
These contributions represent both the diversity of today’s feminist criticism and the tremendous expansion of the nineteenth-century canon. The authors take as their subjects specific nineteenth- and twentieth-century women writers, the state of feminist theory and pedagogy, genre studies, film, race, and postcolonialism, with approaches ranging from ecofeminism to psychoanalysis. And although each essay opens Madwoman to a different page, all provocatively circle back—with admiration and respect, objections and challenges, questions and arguments—to Gilbert and Gubar's groundbreaking work.The essays are as diverse as they are provocative. Susan Fraiman describes how Madwoman opened the canon, politicized critical practice, and challenged compulsory heterosexuality, while Marlene Tromp tells how it elegantly embodied many concerns central to second-wave feminism. Other chapters consider Madwoman’s impact on Milton studies, on cinematic adaptations of Wuthering Heights, and on reassessments of Ann Radcliffe as one of the book’s suppressed foremothers. In the thirty years since its publication, The Madwoman in the Attic has potently informed literary criticism of women’s writing: its strategic analyses of canonical works and its insights into the interconnections between social environment and human creativity have been absorbed by contemporary critical practices. These essays constitute substantive interventions into established debates and ongoing questions among scholars concerned with defining third-wave feminism, showing that, as a feminist symbol, the raging madwoman still has the power to disrupt conventional ideas about gender, myth, sexuality, and the literary imagination.
Placing Wilder’s life and work in historical context, and including previously unpublished material from the Wilder archives, Sallie Ketcham introduces students to domestic frontier life, the conflict between Native Americans and infringing white populations, and the West in public memory and imagination.
Feminist writers such as Mary Gordon and Alice Walker, to name only two, felt obligated to subvert literary misrepresentations of females as dimensionless, to refute preconceptions of objectified characters, and, of paramount importance, to create memorable women full of complexity and character. They wanted to create a subjective reality for their protagonists. And they succeeded admirably.
But along the road to subjectivity, that vital woman, empowered with anger, with ruthless survival instincts -- the bitch -- was banished from the pages of feminist fiction. The village gossips, calculating gold diggers, merciless backstabbers, sinful sirens, evil stepmothers, deadly daughters, twisted sisters, hags, bags, and crones -- all had vanished from the fiction written by women. Ubiquitous in other forms of media, the bitch was noticeably absent from the feminist literary canon.
Aguiar, however, points to indications in contemporary culture that the season of the bitch is fast approaching. Contemporary feminist writers and theorists are making substantial reevaluations of the archetypal bitch. Focusing on the traits and the types of guises usually associated with this vital character, Aguiar examines over one hundred and thirty examples of the bitch as rendered in a wide range of literature. She also analyzes "new" versions of thischaracter created by contemporary feminist authors and concludes that these new versions present a revised archetype: characters who are more complete, possessed of motivations, and strongly individual. Among the characters she discusses are Zenia in Margaret Atwood's The Robber Bride, Ruth Patchett in Fay Weldon's The Life and Loves of a She Devil, Sula in Toni Morrison's Sula, and Ginny in Jane Smiley's A Thousand Acres.
Along the way, the award-winning memoirist brings us face-to-face with herself as an inner-city girl—trying to imagine a horizon beyond poverty, fearful of her fertility and the limiting arc of teenage pregnancy. Livingston looks at the lives of those she’s known: friends who’ve gotten themselves into “trouble” and disappeared never to be heard from again, girls who tell their school counselor small lies out of necessity and pain, and a mother whose fruitfulness seems, at times, biblical. Livingston interacts with figures such as Susan B. Anthony, the Virgin Mary, and Ally McBeal to mine the terrain of her own femininity, fertility, and longing.
Queen of the Fall is a dazzling meditation on loss, possibility, and, ultimately, what it means to be human.
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Making extensive use of unpublished material in the Margaret Atwood Papers at the University of Toronto, York demonstrates the extent to which celebrity writers must embrace and protect themselves from the demands of the literary world, including by participating in – or even inventing – new forms of technology that facilitate communication from a slight remove. This informative study calls overdue attention to the ways in which literary celebrity is the result not only of a writer’s creativity and hard work, but also of an ongoing collaborative effort among professionals to help maintain the writer’s place in the public eye.
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 Saturday Evening Post 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.
In addition to cheerful Anne, L.M. Montgomery created a world when she created Avonlea for Anne of Green Gables. The fictional town is as complex and often as real to the reader as it is to brilliant, loveable Anne. To help you navigate this world, Higher Read's Read It. Know It. edition of Anne of Green Gables provides you with an understanding of all of the layers of this book.
The original text included in this edition allows you to read the book as L.M. Montgomery wrote it, and our all-new content helps you understand the novel more thoroughly. Character and narrative summaries provide you with an at-a-glance reminder of what the original book holds, while our "Read It and Know It" sections explore literary themes in the book. If you are as inquisitive as Anne, you will find everything you need to know in these pages.
So whether you want to read the whole book, just want a reminder of the story, or are interested in exploring the important themes in Anne of Green Gables, Higher Read's Read It. Know It. edition provides an all-in-one book that's right for you.