Morrison, Nobel prize-winning author, has viewed part of her cultural and literary task as a writer to bear witness to the plight of black Americans. “Quiet as it’s kept, much of our business, our existence here, has been grotesque. It really has,” she has commented. As she exposes to public view sensitive race matters in her fiction, Morrison presents jarring depictions of the trauma of slavery and the horrors of racist oppression and black-on-black violence.
From the protofeminism of The Edible Woman, the cultural feminism of Surfacing, and the examination of the perils of Gothic thinking in Lady Oracle to the domestic and sexual warfare of Life Before Man, the anti-feminist backlash terrors of Bodily Harm and The Handmaid's Tale, and the power politics of female relationships in Cat's Eye, Atwood's women-centered fiction has strong oppositional appeal. Because Atwood does not shun what she calls the "story of the disaster which is the world," her tales are often brutal, portraying female victimization at the hands of the husband or male lover, the mother, or the female friend. But if the Atwood novel has the power to disturb, compel, and at times brutalize its reader, it is also carefully choreographed, using form and design to contain and control the female fears, anxieties, and anger that drive the narrative.
Sylvia Plath's journals were originally published in 1982 in a heavily abridged version authorized by Plath's husband, Ted Hughes. This new edition is an exact and complete transcription of the diaries Plath kept during the last twelve years of her life. Sixty percent of the book is material that has never before been made public, more fully revealing the intensity of the poet's personal and literary struggles, and providing fresh insight into both her frequent desperation and the bravery with which she faced down her demons. The Unabridged Journals of Sylvia Plath is essential reading for all who have been moved and fascinated by Plath's life and work.
In a publishing career that spanned less than a decade, Jane Austen used the romantic endeavours of her well-plotted characters as a stage from which to address issues of gender politics and class-consciousness rarely expressed in her day.
Through her vivacious and spirited heroines and their circle, she painted vivid portraits of English middle-class life as the eighteenth century came to a close. Each of these novels is a love story and a story about marriage—marriage for love, for financial security, for social status. But they are not mere romances. Ironic, comic, and wise, they are masterly studies of the society Austen observed.
This collection features the following works:
Love and Friendship and Other Early Works
Pride and Prejudice
Sense and Sensibility
(The Complete Works of Jane Austen by Jane Austen, 9789380914794)
The serene and maternal Mrs. Ramsay, the tragic yet absurd Mr. Ramsay, and their children and assorted guests are on holiday on the Isle of Skye. From the seemingly trivial postponement of a visit to a nearby lighthouse, Woolf constructs a remarkable, moving examination of the complex tensions and allegiances of family life and the conflict between men and women.
“Didion has the instincts of an exceptional reporter and the focus of a historian . . . a novelist’s appreciation of the surreal.” —Los Angeles Times Book Review
Whether she’s writing about civil war in Central America, political scurrility in Washington, or the tightl -braided myths and realities of her native California, Joan Didion expresses an unblinking vision of the truth.
Vintage Didion includes three chapters from Miami; an excerpt from Salvador; and three separate essays from After Henry that cover topics from Ronald Reagan to the Central Park jogger case. Also included is “Clinton Agonistes” from Political Fictions, and “Fixed Opinions, or the Hinge of History,” a scathing analysis of the ongoing war on terror.
From the Trade Paperback edition.
A collection of essays spanning politics, criticism, and feminism from one of the most-watched young cultural observers of her generation, Roxane Gay.
“Pink is my favorite color. I used to say my favorite color was black to be cool, but it is pink—all shades of pink. If I have an accessory, it is probably pink. I read Vogue, and I’m not doing it ironically, though it might seem that way. I once live-tweeted the September issue.”
In these funny and insightful essays, Roxane Gay takes us through the journey of her evolution as a woman (Sweet Valley High) of color (The Help) while also taking readers on a ride through culture of the last few years (Girls, Django in Chains) and commenting on the state of feminism today (abortion, Chris Brown). The portrait that emerges is not only one of an incredibly insightful woman continually growing to understand herself and our society, but also one of our culture.
Bad Feminist is a sharp, funny, and spot-on look at the ways in which the culture we consume becomes who we are, and an inspiring call-to-arms of all the ways we still need to do better.
Begun as a “joke,” Orlando is Virginia Woolf’s fantastical biography of a poet who first appears as a sixteen-year-old boy at the court of Elizabeth I, and is left at the novel’s end a married woman in the year 1928. From Orlando’s early days as a page in the Elizabethan court, through first love, heartbreak, and gender transformation, we follow Woolf’s protagonist across centuries, through adventures in Constantinople and friendship with the poet Alexander Pope. All along, Orlando pursues literary success with her long poem, The Oak Tree.
Part love letter to Vita Sackville-West, part exploration of the art of biography, Orlando is one of Woolf’s most enduringly popular and entertaining works. It has inspired a number of adaptions, including a film version starring Tilda Swinton. This new edition, annotated and with an introduction by Maria DiBattista, author of Imagining Virginia Woolf, will deepen readers’ understanding of Woolf’s brilliant creation.
Ann Romines interweaves personal observation with scholarly analysis to address these questions. Writing from a feminist perspective and drawing on resources of gender studies, cultural studies, and new historicist reading, she examines both the content of the novels and the process of their creation. She explores the relationship between mother and daughter working as collaborative authors and calls into question our assumptions about plot, juvenile fiction, and constructions of gender on the nineteenth-century frontier and in the Depression years when the Little House books were written.
This is a book that will appeal both to scholars and to general readers who might welcome an engaging and accessible companion volume to the Little House novels.
#1 NEW YORK TIMES BESTSELLER
Her name was Henrietta Lacks, but scientists know her as HeLa. She was a poor black tobacco farmer whose cells—taken without her knowledge in 1951—became one of the most important tools in medicine, vital for developing the polio vaccine, cloning, gene mapping, and more. Henrietta's cells have been bought and sold by the billions, yet she remains virtually unknown, and her family can't afford health insurance. This phenomenal New York Times bestseller tells a riveting story of the collision between ethics, race, and medicine; of scientific discovery and faith healing; and of a daughter consumed with questions about the mother she never knew.
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.
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.
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 2004, with the Lees’ blessing, Mills moved into the house next door to the sisters. She spent the next eighteen months there, sharing coffee at McDonalds and trips to the Laundromat with Nelle, feeding the ducks and going out for catfish supper with the sisters, and exploring all over lower Alabama with the Lees’ inner circle of friends.
Nelle shared her love of history, literature, and the Southern way of life with Mills, as well as her keen sense of how journalism should be practiced. As the sisters decided to let Mills tell their story, Nelle helped make sure she was getting the story—and the South—right. Alice, the keeper of the Lee family history, shared the stories of their family.
The Mockingbird Next Door is the story of Mills’s friendship with the Lee sisters. It is a testament to the great intelligence, sharp wit, and tremendous storytelling power of these two women, especially that of Nelle.
Mills was given a rare opportunity to know Nelle Harper Lee, to be part of the Lees’ life in Alabama, and to hear them reflect on their upbringing, their corner of the Deep South, how To Kill a Mockingbird affected their lives, and why Nelle Harper Lee chose to never write another novel.
From the Hardcover edition.
Carson McCullers is renowned for her Southern Gothic fiction and for such modern classics as The Member of the Wedding. This collection includes an assortment of her earliest work, written mostly before she was nineteen.
Included are stories, essays, articles, poems, and writing about writing—including the working outline of “The Mute,” which would become her bestselling novel The Heart is a Lonely Hunter—as well as an introduction by Joyce Carol Oates. As new generations continue to discover the work of Carson McCullers, this volume provides both an enjoyable read and an inspiring look at the beginning of a brilliant literary career.
From two of our most fiercely moral voices, a passionate call to arms against our era’s most pervasive human rights violation: the oppression of women and girls in the developing world.
With Pulitzer Prize winners Nicholas D. Kristof and Sheryl WuDunn as our guides, we undertake an odyssey through Africa and Asia to meet the extraordinary women struggling there, among them a Cambodian teenager sold into sex slavery and an Ethiopian woman who suffered devastating injuries in childbirth. Drawing on the breadth of their combined reporting experience, Kristof and WuDunn depict our world with anger, sadness, clarity, and, ultimately, hope.
They show how a little help can transform the lives of women and girls abroad. That Cambodian girl eventually escaped from her brothel and, with assistance from an aid group, built a thriving retail business that supports her family. The Ethiopian woman had her injuries repaired and in time became a surgeon. A Zimbabwean mother of five, counseled to return to school, earned her doctorate and became an expert on AIDS.
Through these stories, Kristof and WuDunn help us see that the key to economic progress lies in unleashing women’s potential. They make clear how so many people have helped to do just that, and how we can each do our part. Throughout much of the world, the greatest unexploited economic resource is the female half of the population. Countries such as China have prospered precisely because they emancipated women and brought them into the formal economy. Unleashing that process globally is not only the right thing to do; it’s also the best strategy for fighting poverty.
Deeply felt, pragmatic, and inspirational, Half the Sky is essential reading for every global citizen.
First sketching a nonessentialist view of rationality, and emphasizing the role of power relations, Peg O’Connor then examines in subsequent chapters the relationship between a variety of "foreground" actions and "background" practices: burnings of African American churches, hate speech, child sexual abuse, coming out as a gay or lesbian teenager, and racial integration of public and private spaces. These examples serve to illuminate when our "language games" reinforce oppression and when they allow possibilities for resistance. Attending to the background, O’Connor argues, can give us insight into ways of transforming the nature and meaning of foreground actions.
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
In Marianne Moore, Subversive Modernist, Taffy Martin combines traditional scholarship and contemporary critical theory to create a feminist reading of one of the twentieth century's most difficult poets. In so doing, she places Moore in the tradition of Modernism, defines Moore's quarrels with it, and thus produces a broader understanding of both the poet and the movement. Drawing on Moore's unpublished correspondence, her reading notebooks, and her workbooks, as well as feminist criticism's attention to writers who elude traditional critical approaches, this excellent study provides much-needed insights into the Modernism, life, and art of Marianne Moore.
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.
Her route takes her through the theorization of self offered by Freud and Lacan and on to the concept of subjectivity articulated by Kleinian and later object-relations psychoanalysts. She argues that much women’s writing has been inappropriately placed and interpreted within a predominantly formalist-orientated aesthetic and a post-Freudian/liberal, individualist conceptualization of subjectivity and artistic expression. This tendency has been intensified in discussions of postmodernism, and a new feminist aesthetic is thus badly needed.
In the second part of the book Patricia Waugh analyses the work of six ‘traditional’ and six ‘experimental’ writers, challenging the restrictive definitions of ‘realist’, ‘modernist’, ‘postmodernist’ in the light of the theoretical position developed in part one. Authors covered include: Woolf (viewed as a postmodernist ‘precursor’ rather than a ‘high’ modernist), Drabble, Tyler, Plath, Brookner, Paley, Lessing, Weldon, Atwood, Walker, Spark, Russ, and Piercy.
to investigate Jane Austen's popular significance today, Everybody's Jane considers why Austen matters to amateur readers, how they make use of her
novels, what they gain from visiting places associated with her, and why they
create works of fiction and nonfiction inspired by her novels and life.The voices of everyday readers emerge from
both published and unpublished sources, including interviews conducted with literary tourists and archival research into the
founding of the Jane Austen Society of North America and the exceptional Austen
collection of Alberta Hirshheimer Burke of Baltimore.Additional topics include new Austen
portraits; portrayals of Austen, and of Austen fans, in film and fiction; and
hybrid works that infuse Austen's writings with horror, erotica, or explicit
Christianity.Everybody's Jane will appeal to all those who care about Austen and will change how we think about the
importance of literature and reading today.
Viewers everywhere have fallen in love with this candid look at post-war London. In the 1950s, twenty-two-year-old Jenny Lee leaves her comfortable home to move into a convent and become a midwife in London's East End slums. While delivering babies all over the city, Jenny encounters a colorful cast of women—from the plucky, warm-hearted nuns with whom she lives, to the woman with twenty-four children who can't speak English, to the prostitutes of the city's seedier side.
An unfortgettable story of motherhood, the bravery of a community, and the strength of remarkable and inspiring women, Call the Midwife is the true story behind the beloved PBS series, which will soon return for its sixth season.
From the Trade Paperback edition.
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.
"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.
Yeonmi Park has told the harrowing story of her escape from North Korea as a child many times, but never before has she revealed the most intimate and devastating details of the repressive society she was raised in and the enormous price she paid to escape.
Park’s family was loving and close-knit, but life in North Korea was brutal, practically medieval. Park would regularly go without food and was made to believe that, Kim Jong Il, the country’s dictator, could read her mind. After her father was imprisoned and tortured by the regime for trading on the black-market, a risk he took in order to provide for his wife and two young daughters, Yeonmi and her family were branded as criminals and forced to the cruel margins of North Korean society. With thirteen-year-old Park suffering from a botched appendectomy and weighing a mere sixty pounds, she and her mother were smuggled across the border into China.
I wasn’t dreaming of freedom when I escaped from North Korea. I didn’t even know what it meant to be free. All I knew was that if my family stayed behind, we would probably die—from starvation, from disease, from the inhuman conditions of a prison labor camp. The hunger had become unbearable; I was willing to risk my life for the promise of a bowl of rice. But there was more to our journey than our own survival. My mother and I were searching for my older sister, Eunmi, who had left for China a few days earlier and had not been heard from since.
Park knew the journey would be difficult, but could not have imagined the extent of the hardship to come. Those years in China cost Park her childhood, and nearly her life. By the time she and her mother made their way to South Korea two years later, her father was dead and her sister was still missing. Before now, only her mother knew what really happened between the time they crossed the Yalu river into China and when they followed the stars through the frigid Gobi Desert to freedom. As she writes, “I convinced myself that a lot of what I had experienced never happened. I taught myself to forget the rest.”
In In Order to Live, Park shines a light not just into the darkest corners of life in North Korea, describing the deprivation and deception she endured and which millions of North Korean people continue to endure to this day, but also onto her own most painful and difficult memories. She tells with bravery and dignity for the first time the story of how she and her mother were betrayed and sold into sexual slavery in China and forced to suffer terrible psychological and physical hardship before they finally made their way to Seoul, South Korea—and to freedom.
Still in her early twenties, Yeonmi Park has lived through experiences that few people of any age will ever know—and most people would never recover from. Park confronts her past with a startling resilience, refusing to be defeated or defined by the circumstances of her former life in North Korea and China. In spite of everything, she has never stopped being proud of where she is from, and never stopped striving for a better life. Indeed, today she is a human rights activist working determinedly to bring attention to the oppression taking place in her home country.
Park’s testimony is rare, edifying, and terribly important, and the story she tells in In Order to Live is heartbreaking and unimaginable, but never without hope. Her voice is riveting and dignified. This is the human spirit at its most indomitable.
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.
In a memoir hailed for its searing candor, as well as its wit, Alice Sebold reveals how her life was transformed when, as an eighteen-year-old college freshman, she was brutally raped and beaten in a park near campus. What ultimately propels this chronicle of sexual assault and its aftermath is Sebold’s indomitable spirit, as she fights to secure her rapist’s arrest and conviction and comes to terms with a relationship to the world that has forever changed. With over a million copies in print, Lucky has touched the lives of a generation of readers. Sebold illuminates the experience of trauma victims and imparts a wisdom profoundly hard-won: “You save yourself or you remain unsaved.” Now reissued with a new afterword by the author, her story remains as urgent as it was when it was first published eighteen years ago.
As the Civil War raged, an unlikely friendship was born between the reclusive poet Emily Dickinson and Thomas Wentworth Higginson, a literary figure who ran guns to Kansas and commanded the first Union regiment of black soldiers. When Dickinson sent Higginson four of her poems he realized he had encountered a wholly original genius; their intense correspondence continued for the next quarter century. In White Heat Brenda Wineapple tells an extraordinary story about poetry, politics, and love, one that sheds new light on her subjects and on the roiling America they shared.
From the Trade Paperback edition.
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
In this lively, absorbing biography, Marion Meade illuminates both the charm and the dark side of Dorothy Parker, exploring her days of wicked wittiness at the Algonquin Round Table with the likes of Robert Benchley, George Kaufman, and Harold Ross, and in Hollywood with S. J. Perelman, William Faulkner, and Lillian Hellman. At the dazzling center of it all, Meade gives us the flamboyant, self-destructive, and brilliant Dorothy Parker.
This edition features a new afterword by Marion Meade.
Boston blueblood Charlotte Vale has led an unhappy, sheltered life. Dowdy, repressed, and pushing forty, Charlotte finds salvation in the unlikely form of a nervous breakdown, placing her at a sanitarium, where she undergoes treatment to rebuild her ravaged self-esteem and uncover her true intelligence and charm.
Femmes Fatales restores to print the best of women’s writing in the classic pulp genres of the mid-20th century. From mystery to hard-boiled noir to taboo lesbian romance, these rediscovered queens of pulp offer subversive perspectives on a turbulent era. Enjoy the series: Bedelia; Bunny Lake Is Missing; By Cecile; The G-String Murders; The Girls in 3-B; Laura; The Man Who Loved His Wife; Mother Finds a Body; Now, Voyager; Return to Lesbos; Skyscraper; Stranger on Lesbos; Stella Dallas; Women's Barracks.
Keshavarz introduces readers to two modern Iranian women writers whose strong and articulate voices belie the stereotypical perception of Iranian women as voiceless victims in a country of villains. She follows with a lively critique of the recent best-seller Reading Lolita in Tehran: A Memoir in Books, which epitomizes what Keshavarz calls the "New Orientalist narrative," a view marred by stereotype and prejudice more often tied to current geopolitical conflicts than to an understanding of Iran.
Blending in firsthand glimpses of her own life--from childhood memories in 1960s Shiraz to her present life as a professor in America--Keshavarz paints a portrait of Iran depicting both cultural depth and intellectual complexity. With a scholar's expertise and a poet's hand, she helps amplify the powerful voices of contemporary Iranians and leads readers toward a deeper understanding of the country's past and present.
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.
Missoula, Montana, is a typical college town, with a highly regarded state university, bucolic surroundings, a lively social scene, and an excellent football team — the Grizzlies — with a rabid fan base.
The Department of Justice investigated 350 sexual assaults reported to the Missoula police between January 2008 and May 2012. Few of these assaults were properly handled by either the university or local authorities. In this, Missoula is also typical.
A DOJ report released in December of 2014 estimates 110,000 women between the ages of eighteen and twenty-four are raped each year. Krakauer’s devastating narrative of what happened in Missoula makes clear why rape is so prevalent on American campuses, and why rape victims are so reluctant to report assault.
Acquaintance rape is a crime like no other. Unlike burglary or embezzlement or any other felony, the victim often comes under more suspicion than the alleged perpetrator. This is especially true if the victim is sexually active; if she had been drinking prior to the assault — and if the man she accuses plays on a popular sports team. The vanishingly small but highly publicized incidents of false accusations are often used to dismiss her claims in the press. If the case goes to trial, the woman’s entire personal life becomes fair game for defense attorneys.
This brutal reality goes a long way towards explaining why acquaintance rape is the most underreported crime in America. In addition to physical trauma, its victims often suffer devastating psychological damage that leads to feelings of shame, emotional paralysis and stigmatization. PTSD rates for rape victims are estimated to be 50%, higher than soldiers returning from war.
In Missoula, Krakauer chronicles the searing experiences of several women in Missoula — the nights when they were raped; their fear and self-doubt in the aftermath; the way they were treated by the police, prosecutors, defense attorneys; the public vilification and private anguish; their bravery in pushing forward and what it cost them.
Some of them went to the police. Some declined to go to the police, or to press charges, but sought redress from the university, which has its own, non-criminal judicial process when a student is accused of rape. In two cases the police agreed to press charges and the district attorney agreed to prosecute. One case led to a conviction; one to an acquittal. Those women courageous enough to press charges or to speak publicly about their experiences were attacked in the media, on Grizzly football fan sites, and/or to their faces. The university expelled three of the accused rapists, but one was reinstated by state officials in a secret proceeding. One district attorney testified for an alleged rapist at his university hearing. She later left the prosecutor’s office and successfully defended the Grizzlies’ star quarterback in his rape trial. The horror of being raped, in each woman’s case, was magnified by the mechanics of the justice system and the reaction of the community.
Krakauer’s dispassionate, carefully documented account of what these women endured cuts through the abstract ideological debate about campus rape. College-age women are not raped because they are promiscuous, or drunk, or send mixed signals, or feel guilty about casual sex, or seek attention. They are the victims of a terrible crime and deserving of compassion from society and fairness from a justice system that is clearly broken.
In 1810, Saartjie Baartman was taken from South Africa to Europe, where she was put on display at circuses, salons, and museums and universities as the "Hottentot Venus." The subsequent legacy of representations of black women's sexuality-from Josephine Baker to Serena Williams to hip-hop and dancehall videos-continues to refer back to this persistent icon. This book analyzes the history of critical and artistic responses to this iconography by black women in contemporary photography, film, literature, music, and dance.
Once the sought-after video girl, this sexy siren has helped multi-platinum artists, such as Jay-Z, R. Kelly and LL Cool J, sell millions of albums with her sensual dancing. In a word, Karrine was H-O-T. So hot that she made as much as $2500 a day in videos and was selected by well-known film director F. Gary Gray to co-star in his film, A Man Apart, starring Vin Diesel. But the film and music video sets, swanky Hollywood and New York restaurants and trysts with the celebrities featured in the pages of People and In Touch magazines only touches the surface of Karrine Steffans' life.
Her journey is filled with physical abuse, rape, drug and alcohol abuse, homelessness and single motherhood—all by the age of 26. By sharing her story, Steffans hopes to shed light on an otherwise romanticised industry and help young women avoid the same pitfalls she encountered. If they're already in danger, she hopes to inspire them to find a way to dig themselves out of what she knows first-hand
to be a cycle of hopelessness and despair.
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.