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)
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.
Sadegh Hedayat was Iran’s most renowned modern fiction writer, and his spine-tingling novel The Blind Owl is considered his seminal work. A classic of modern Iranian literature, this edition is presented to contemporary audiences with a new introduction by Porochista Khakpour, one of the most exciting voices from a new generation of Iranian-American authors.
A haunting tale of loss and spiritual degradation, The Blind Owl tells the story of a young opium addict’s despair after losing a mysterious lover. Through a series of intricately woven events that revolve around the same set of mental images—an old man with a spine-chilling laugh, four cadaverous black horses with rasping coughs, a hidden urn of poisoned wine—the narrator is compelled to record his obsession with a beautiful woman even as it drives him further into frenzy and madness.
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.
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.
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 story--formalistic, thematic, deconstructionist-- 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.
For two years before she left Iran in 1997, Nafisi gathered seven young women at her house every Thursday morning to read and discuss forbidden works of Western literature. They were all former students whom she had taught at university. Some came from conservative and religious families, others were progressive and secular; several had spent time in jail. They were shy and uncomfortable at first, unaccustomed to being asked to speak their minds, but soon they began to open up and to speak more freely, not only about the novels they were reading but also about themselves, their dreams and disappointments. Their stories intertwined with those they were reading—Pride and Prejudice, Washington Square, Daisy Miller and Lolita—their Lolita, as they imagined her in Tehran.
Nafisi’s account flashes back to the early days of the revolution, when she first started teaching at the University of Tehran amid the swirl of protests and demonstrations. In those frenetic days, the students took control of the university, expelled faculty members and purged the curriculum. When a radical Islamist in Nafisi’s class questioned her decision to teach The Great Gatsby, which he saw as an immoral work that preached falsehoods of “the Great Satan,” she decided to let him put Gatsby on trial and stood as the sole witness for the defense.
Azar Nafisi’s luminous tale offers a fascinating portrait of the Iran-Iraq war viewed from Tehran and gives us a rare glimpse, from the inside, of women’s lives in revolutionary Iran. It is a work of great passion and poetic beauty, written with a startlingly original voice.
Praise for Reading Lolita in Tehran
“Anyone who has ever belonged to a book group must read this book. Azar Nafisi takes us into the vivid lives of eight women who must meet in secret to explore the forbidden fiction of the West. It is at once a celebration of the power of the novel and a cry of outrage at the reality in which these women are trapped. The ayatollahs don’ t know it, but Nafisi is one of the heroes of the Islamic Republic.”—Geraldine Brooks, author of Nine Parts of Desire
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.
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.
Valerie Solanas was a radical feminist playwright and social propagandist who was arrested in 1968 after her attempted assassination of Andy Warhol. Deemed a paranoid schizophrenic by the state, Solanas was immortalized in the 1996 film I Shot Andy Warhol.
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.
Depression-era Harlem is home for twelve-year-old Francie Coffin and her family, and it’s both a place of refuge and the source of untold dangers for her and her poor, working class family. The beloved “daddy” of the title indeed becomes a number runner when he is unable to find legal work, and while one of Francie’s brothers dreams of becoming a chemist, the other is already in a gang. Francie is a dreamer, too, but there are risks in everything from going to the movies to walking down the block, and her pragmatism eventually outweighs her hope; “We was all poor and black and apt to stay that way, and that was that.”
First published in 1970, Daddy Was a Number Runner is one of the seminal novels of the black experience in America. The New York Times Book Review proclaimed it “a most important novel.”
Annotated and with an introduction by Susan Gubar
--Stephanie Cha (of the LARB) in GQ on "The Greatest Crime Novelists on Their Favorite Crime Novels Ever"
"Jackie Ishida's grandfather had a store in Watts where four boys were killed during the riots in 1965, a mystery she attempts to solve."
--New York Times Book Review, Ross MacDonald on "Where Noir Lives in the City of Angels"
"[A]n absolutely compelling story of family and racial tragedy. Revoyr's novel is honest in detailing southern California's brutal history, and honorable in showing how families survived with love and tenacity and dignity."
--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.
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.
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.
In an enlightening introduction, El Koudia mourns the loss of the teller of tales in the marketplace, and he makes it clear that storytelling, born of memory and oral tradition, could vanish in the face of mass and electronic media.
An Edgar Award nominee for best critical / biographical
Best of 2018 according to Kirkus, The Boston Globe, The New York Times, The Portland Mercury, Bustle, Thrillist, and Electric Lit
A New York Times Editor's Choice, a best of summer 2018 according to Bitch Magazine, Harpers Bazaar, The Millions, Esquire, Refinery29, Nylon, PopSugar, The Chicago Tribune, Book Riot, and CrimeReads
In this poignant collection, Alice Bolin examines iconic American works from the essays of Joan Didion and James Baldwin to Twin Peaks, Britney Spears, and Serial, illuminating the widespread obsession with women who are abused, killed, and disenfranchised, and whose bodies (dead and alive) are used as props to bolster men’s stories. Smart and accessible, thoughtful and heartfelt, Bolin investigates the implications of our cultural fixations, and her own role as a consumer and creator.
Bolin chronicles her life in Los Angeles, dissects the Noir, revisits her own coming of age, and analyzes stories of witches and werewolves, both appreciating and challenging the narratives we construct and absorb every day. Dead Girls begins by exploring the trope of dead women in fiction, and ends by interrogating the more complex dilemma of living women – both the persistent injustices they suffer and the oppression that white women help perpetrate.
Reminiscent of the piercing insight of Rebecca Solnit and the critical skill of Hilton Als, Bolin constructs a sharp, perceptive, and revelatory dialogue on the portrayal of women in media and their roles in our culture.
The result takes the reader on an eye-opening journey through centuries, continents and civilizations as it looks at both historical and contemporary attitudes to women. Encompassing the Church, witch hunts, sexual theory, Nazism and pro-life campaigners, we arrive at today's developing world, where women are increasingly and disproportionately at risk because of radicalised religious belief, famine, war and disease. Well-informed and researched, highly readable and thought-provoking, this is a refreshingly straightforward investigation into an ancient, pervasive and enduring injustice. It deals with the fundamentals of human existence -- sex, love, violence -- that have shaped the lives of humans throughout history.
The answer? It's time to recognize that the treatment of women amounts to nothing less than an abuse of human rights on an unthinkable scale. A Brief History of Misogyny is an important and timely book that will make a long-lasting contribution to the efforts to improve those rights throughout the world.
Set in the twenty-second century after the repeal of the Nineteenth Amendment, the novel reveals a world where women are once again property, denied civil rights, and banned from public life. In this world, Earth’s wealth relies on interplanetary commerce, for which the population depends on linguists, a small, clannish group of families whose women breed and become perfect translators of all the galaxies’ languages. The linguists wield power, but live in isolated compounds, hated by the population, and in fear of class warfare. But a group of women is destined to challenge the power of men and linguists.
Nazareth, the most talented linguist of her family, is exhausted by her constant work translating for the government, supervising the children’s language education in the Alien-in-Residence interface chambers, running the compound, and caring for the elderly men. She longs to retire to the Barren House, where women past childbearing age knit, chat, and wait to die. What Nazareth does not yet know is that a clandestine revolution is going on in the Barren Houses: there, word by word, women are creating a language of their own to free them of men’s domination. Their secret must, above all, be kept until the language is ready for use. The women’s language, Láadan, is only one of the brilliant creations found in this stunningly original novel, which combines a page-turning plot with challenging meditations on the tensions between freedom and control, individuals and communities, thought and action. A complete work in itself, it is also the first volume in Elgin’s acclaimed Native Tongue trilogy.
In this volume, Carl Thompson:introduces the genre, outlining competing definitions and key debates provides a broad historical survey from the medieval period to the present day explores the autobiographical dimensions of the form looks at both men and women’s travel writing, surveying a range of canonical and more marginal works, drawn from both the colonial and postcolonial era utilises both British and American travelogues to consider the genre's role in shaping the history of both nations.
Concise and practical, Travel Writing is the ideal introduction for those new to the subject, as well as a crucial overview of current debates in the field.
A Book For Her details Christie’s twelve years of anonymous toil in the bowels of stand-up comedy and the sudden epiphany that made her, unbelievably, one of the most critically acclaimed British stand-up comedians this decade, drawing together the threads that link a smelly smell in the women’s studies section to the global feminist struggle.
Find out how nice Peter Stringfellow’s fish tastes, how yoghurt advertising perpetuates rape myths, and how Emily Bronte used a special ladies’ pen to write Wuthering Heights.
If you’re interested in comedy and feminism, then this is definitely the book for you. If you hate both then I’d probably give it a miss.
“Christie is adept at turning on a sixpence between being comical, or serious, or both at once, and at pricking her own earnestness.” Telegraph
‘Christie piles derision and tomfoolery upon everyday sexism, while never pretending that jokes alone will solve the problem.’ Guardian
Set in the nineteenth century, Isabel Miller’s classic lesbian novel traces the relationship between Patience White, an educated painter, and Sarah Dowling, a cross-dressing farmer, whose romantic bond does not sit well with the puritanical New England farming community in which they live. They choose to live together and love each other freely, even though they know of no precedents for their relationship; they must trust their own instincts and see beyond the disdain of their neighbors. Ultimately, they are forced to make life-changing decisions that depend on their courage and their commitment to one another.
First self-published in 1969 in an edition of one thousand copies, the author hand-sold the book on New York street corners; it garnered increasing attention to the point of receiving the American Library Association’s first Gay Book Award in 1971. McGraw-Hill’s version of the book a year later brought it to mainstream bookstores across the country.
Patience & Sarah is a historical romance whose drama was a touchstone for the burgeoning gay and women’s activism of the late 1960s and early 1970s. It celebrates the joys of an uninhibited love between two strong women with a confident defiance that remains relevant today.
This edition features an appendix of supplementary materials about Patience & Sarah and the author, as well as an introduction by Emma Donoghue, the Irish novelist whose numerous books include the contemporary Dublin novels Stirfry and Hood, the latter of which won the ALA’s Gay and Lesbian Book Award in 1995.
Little Sister’s Classics is an Arsenal Pulp Press imprint dedicated to reviving lost and out-of-print gay and lesbian classic books, both fiction and nonfiction. The series is produced in conjunction with Little Sister’s Books, the heroic gay Vancouver bookstore well-known for its anti-censorship efforts.
Isabel Miller was the author of numerous novels, including two under her real name, Alma Routsong. She died in 1996.
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 Queer Time and Place opens with a probing analysis of the life and death of Brandon Teena, a young transgender man who was brutally murdered in small-town Nebraska. After looking at mainstream representations of the transgender body as exhibited in the media frenzy surrounding this highly visible case and the Oscar-winning film based on Brandon's story, Boys Don’t Cry, Halberstam turns her attention to the cultural and artistic production of queers themselves. She examines the “transgender gaze,” as rendered in small art-house films like By Hook or By Crook, as well as figurations of ambiguous embodiment in the art of Del LaGrace Volcano, Jenny Saville, Eva Hesse, Shirin Neshat, and others. She then exposes the influence of lesbian drag king cultures upon hetero-male comic films, such as Austin Powers and The Full Monty, and, finally, points to dyke subcultures as one site for the development of queer counterpublics and queer temporalities.
Considering the sudden visibility of the transgender body in the early twenty-first century against the backdrop of changing conceptions of space and time, In a Queer Time and Place is the first full-length study of transgender representations in art, fiction, film, video, and music. This pioneering book offers both a jumping off point for future analysis of transgenderism and an important new way to understand cultural constructions of time and place.
What Sandoval has identified is a language, a rhetoric of resistance to postmodern cultural conditions. U.S. liberation movements of the post-World War II era generated specific modes of oppositional consciousness. Out of these emerged a new activity of consciousness and language Sandoval calls the "methodology of the oppressed." This methodology—born of the strains of the cultural and identity struggles that currently mark global exchange—holds out the possibility of a new historical moment, a new citizen-subject, and a new form of alliance consciousness and politics.
Utilizing semiotics and U.S. Third World feminist criticism, Sandoval demonstrates how this methodology mobilizes love as a category of critical analysis. Rendering this approach in all its specifics, Methodology of the Oppressed gives rise to an alternative mode of criticism opening new perspectives on any theoretical, literary, aesthetic, social movement, or psychic expression.
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.
Sisterhood Is Forever -- with over 60 original essays Morgan commissioned from well-known feminist leaders plus energetic Gen X and Y activists -- is a composite mural of the female experience in America: where we've been, where we are, where we're going. The stunning scope of topics ranges from reproductive, health, and environmental issues to workplace inequities and the economics of women's unpaid labor; from globalization to the politics of aging; from cyberspace, violence against women, and electoral politics to spirituality, the law, the media, and academia. The deliberately audacious mix of contributors spans different generations, races, ethnicities, and sexual preferences: CEOs, housewives, rock stars, farmers, scientists, prostituted women, politicians, women in prison, firefighters, disability activists, artists, flight attendants, an army general, an astronaut, an anchorwoman, even a pair of teens who edit a girls' magazine. Each article celebrates the writer's personal voice -- her humor, passion, anger, and the integrity of her perspective -- while offering the latest data on women's status, political analysis, new "how-to" tools for activism, and visionary yet practical strategies for the future -- strategies needed now more than ever. Robin Morgan's own contributions are everything her readers expect: prophetic, powerfully argued, unsentimentally lyrical. From her introduction: "The book you hold in your hands is a tool for the future -- a future also in your hands." •
Edna Acosta-Belén • Carol J. Adams • Margot Adler • Natalie Angier • Ellen Appel-Bronstein • Mary Baird • Brenda Berkman • Christine E. Bose • Kathy Boudin • Ellen Bravo • Vednita Carter • Wendy Chavkin • Kimberlé Crenshaw • Gail Dines • Paula DiPerna • Helen Drusine • Andrea Dworkin • Eve Ensler • Barbara Findlen • Mary Foley • Patricia Friend • Theresa Funiciello • Carol Gilligan • Sara K. Gould • Ana Grossman The Guerrilla Girls • Beverly Guy-Sheftall • Kathleen Hanna • Laura Hershey • Anita Hill • Florence Howe • Donna M. Hughes • Karla Jay • Mae C. Jemison • Carol Jenkins • Claudia J. Kennedy • Alice Kessler-Harris Clara Sue Kidwell • Frances Kissling • Sandy Lerner • Suzanne Braun Levine • Barbara Macdonald • Catharine A. MacKinnon Jane Roland Martin • Debra Michals • Robin Morgan Jessica Neuwirth • Judy Norsigian • Eleanor Holmes Norton • Grace Paley • Emma Peters-Axtell Cynthia Rich Amy Richards • Cecile Richards Carolyn Sachs • Marianne Schnall • Pat Schroeder • Patricia Silverthorn • Eleanor Smeal Roslyn D. Smith Gloria Steinem Mary Thom • Jasmine Victoria • Faye Wattleton • Marie Wilson • Helen Zia
I am beginning to realize that taking the self out of our essays is a form of repression. Taking the self out feels like obeying a gag order―pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature."
― from Heroines
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.
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.
In her introductory essay, "Reading Rosario Castellanos: Contexts, Voices, and Signs," Maureen Ahern presents the first comprehensive study of Castellanos' work as a sign or signifying system. This approach through contemporary semiotic theory unites literary criticism and translation as an integral semiotic process. Ahern reveals how Castellanos integrated women's images, bodies, voices, and texts to feminize her discourse and create a plurality of new signs/messages about women in Mexico. Describing this process in The Eternal Feminine, Castellanos observes, "...it's not good enough to imitate the models proposed for us that are answers to circumstances other than our own. It isn't even enough to discover who we are. We have to invent ourselves."
“I have decided that the trouble with print is, it never changes its mind,” writes Ursula K. Le Guin in her introduction to Dancing at the Edge of the World. But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind—strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading.
“If you are tired of being able to predict what a writer will say next, if you are bored stiff with minimalism, if you want excess and risk and intelligence and pure orneriness, try Le Guin.” —Mary Mackey, San Francisco Chronicle
- Representation of women's roles, gender, sexuality and power
- Language, style and form
- Dystopias and genre fictions
- Power, control and religious fundamentalism.
Combining helpful guidance on reading Atwood's text with overviews of significant stylistic and thematic issues and an introduction to criticism, this is an ideal companion to reading and studying A Handmaid's Tale.
This book tackles these questions through a close examination of Arab women's autobiographical writings. Nawar Al-Hassan Golley applies a variety of western critical theories, including Marxism, colonial discourse, feminism, and narrative theory, to the autobiographies of Huda Shaarawi, Fadwa Tuqan, Nawal el-Saadawi, and others to demonstrate what these critical methodologies can reveal about Arab women's writing. At the same time, she also interrogates these theories against the chosen texts to see how adequate or appropriate these models are for analyzing texts from other cultures. This two-fold investigation sheds important new light on how the writers or editors of Arab women's autobiographies have written, documented, presented, and organized their texts.
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.
Although women's works were generally meant only to circulate among women, these creative expressions have caught the attention of literary and artistic connoisseurs. By bringing them to light, the book seeks to demonstrate how Korean women have tried to give their lives meaning over the ages through their very diverse, yet common artistic responses to the details and drama of everyday life in Confucian Korea. The stories of these women and their work give us glimpses of their personal views on culture, aesthetics, history, society, politics, morality, and more.
Part memoir, part clinical case, part theoretical investigation, this book searches for the body. Is it a psychopathological entity; a crossroads for the cultural, political, and biological in the form of care; or the foundation of psychoanalytic work on the question of sexuality? Jamieson Webster traces conversion’s shifting meanings—in religious, economic, and even chemical processes—revisiting the work of thinkers as diverse as Benjamin, Foucault, Agamben, and Lacan. She provides an intimate account of her own conversion from patient to psychoanalyst, as well as her continuing struggle to apprehend the complexities of the patient’s body. When listening to dreams, symptoms, worries, or sexual impasses, the body becomes a defining trope that belies a vulnerable and urgent wish for transformation. Conversion Disorder names what is singular about the entanglement of the fractured body and the social world in order to imagine what kind of cure is possible.
The thirteen essayists approach the persistence of the Gothic in American culture by providing a composite of interventions that focus on specific issues—the histories of gender and race, the cultures of cities and scandals and sensations—in order to advance distinct theoretical paradigms. Each essay sustains a connection between a particular theoretical field and a central problem in the Gothic tradition.
Drawing widely on contemporary theory—particularly revisionist views of Freud such as those offered by Lacan and Kristeva—this volume ranges from the well-known Gothic horrors of Edgar Allan Poe and Nathaniel Hawthorne to the popular fantasies of Stephen King and the postmodern visions of Kathy Acker. Special attention is paid to the issues of slavery and race in both black and white texts, including those by Ralph Ellison and William Faulkner. In the view of the editors and contributors, the Gothic is not so much a historical category as a mode of thought haunted by history, a part of suburban life and the lifeblood of films such as The Exorcist and Fatal Attraction.
In a Closet Hidden traces Freeman's evolution as a writer, showing how her own inner conflicts repeatedly found expression in her art. As Glasser demonstrates, Freeman's work examined the competing claims of creativity and convention, self-fulfillment and self-sacrifice, spinsterhood and marriage, lesbianism and heterosexuality.
In recent years, Arab activists have confronted authoritarian regimes both on the street and online, leaking videos and exposing atrocities, and demanding political rights. Tarek El-Ariss situates these critiques of power within a pervasive culture of scandal and leaks and shows how cultural production and political change in the contemporary Arab world are enabled by digital technology yet emerge from traditional cultural models.
Focusing on a new generation of activists and authors from Egypt and the Arabian Peninsula, El-Ariss connects WikiLeaks to The Arabian Nights, Twitter to mystical revelation, cyberattacks to pre-Islamic tribal raids, and digital activism to the affective scene-making of Arab popular culture. He shifts the epistemological and historical frameworks from the postcolonial condition to the digital condition and shows how new media challenge the novel as the traditional vehicle for political consciousness and intellectual debate.
Theorizing the rise of “the leaking subject” who reveals, contests, and writes through chaotic yet highly political means, El-Ariss investigates the digital consciousness, virality, and affective forms of knowledge that jolt and inform the public and that draw readers in to the unfolding fiction of scandal.
Leaks, Hacks, and Scandals maps the changing landscape of Arab modernity, or Nahda, in the digital age and traces how concepts such as the nation, community, power, the intellectual, the author, and the novel are hacked and recoded through new modes of confrontation, circulation, and dissent.
One of the most infamous scandals in financial history becomes a theatrical epic. At once a case study and an allegory, the play charts the notorious rise and fall of Enron and its founding partners Ken Lay and Jeffrey Skilling, who became 'the most vilified figure from the financial scandal of the century.'
This Student Edition features expert and helpful annotation, including a scene-by-scene summary, a detailed commentary on the dramatic, social and political context, and on the themes, characters, language and structure of the play, as well as a list of suggested reading and questions for further study and a review of performance history.
Mixing classical tragedy with savage comedy, Enron follows a group of flawed men and women in a narrative of greed and loss which reviews the tumultuous 1990s and casts a new light on the financial turmoil in which the world finds itself in 2009.
The play was Lucy Prebble's first work for the stage since her debut work The Sugar Syndrome, winner of the George Devine and Critic's Circle Awards for Most Promising New Playwright. Produced by Headlong, Enron premiered at Chichester's Minerva Theatre on 11 July 2009 and opened at the Royal Court Theatre, London, in September, before transferring to London's West End and to Broadway in 2010.
Crafted and edited with care, Worth Books set the standard for quality and give you the tools you need to be a well-informed reader.
This short summary and analysis of The Handmaid’s Tale by Margaret Atwood includes:
Historical contextPart-by-part summariesAnalysis of the main charactersThemes and symbolsImportant quotesFascinating triviaGlossary of termsSupporting material to enhance your understanding of the original work
About Margaret Atwood’s The Handmaid’s Tale:
Margaret Atwood’s dystopian literary masterpiece tells the story of Offred, a Handmaid living in the near future in what was once the United States. A new theocratic regime called the Republic of Gilead has come to power and changed life as she knew it.
Once Offred had a her own name and a loving family—a husband and daughter—both of which were taken from her; now she belongs to the Commander and his hostile wife, and her only value lies in her ability to bear a child for them. She used to read books and learn; now such things are forbidden to all women.
Gripping, disturbing, and so relevant today, The Handmaid’s Tale is a brilliant novel and a chilling warning about what can happen when extreme ideas are taken to their logical conclusions.
The summary and analysis in this ebook are intended to complement your reading experience and bring you closer to a great work of fiction.