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In recent years, public debate has raged over the issue of maternal choice. While personal testimony and political argument have received widespread attention, artistic representations of birth and abortion have been submerged. Judith Wilt offers the first look at how contemporary writers tell and retell the stories that shape our perceptions about abortion. She reveals that the struggle to plot these painful, complex narratives of choice, control, guilt, loss, and liberation has preoccupied an astonishing number of our most distinguished novelists, male and female alike. Readers of twentieth-century novels are more likely to encounter plots centered on maternal choice than those dealing with the more traditional problems of courtship and marriage. In the opening of the book, Wilt discusses real case histories of several women. After studying the ambiguities of their decisions, she turns to their counterpoints depicted in contemporary fiction. Working from a feminist perspective, Wilt traces the theme of maternal choice in works by Margaret Atwood, Margaret Drabble, Joan Didion, Mary Gordon, Alice Walker, Toni Morrison, Gloria Naylor, Marge Piercy, Thomas Keneally, Graham Swift, Ernest Hemingway, William Faulkner, John Barth, John Irving, and others. Behind the political, medical, and moral debates on abortion, Wilt argues, is a profound psychocultural shock at the recognition that maternity is passing from the domain of instinct to that of conscious choice. Although never wholly instinctual, maternity's potential capture by consciousness raises complex questions. The novels Wilt discusses portray worlds in which principles are endangered by sexual inequality, male power and hidden male fear of abandonment, impotence, female submission, and covert rage, and, in the case of black maternity, the hideous aftermath of slavery. Wilt provides a resonant new context for debates—whether political or personal—on the issue of abortion and maternal choice. Ultimately she enables us to rethink how we shape our own identities and lives.
A landmark literary anthology of poems, stories, and essays, Choice Words collects essential voices that renew our courage in the struggle to defend reproductive rights. Twenty years in the making, the book spans continents and centuries. This collection magnifies the voices of people reclaiming the sole authorship of their abortion experiences. These essays, poems, and prose are a testament to the profound political power of defying shame. Contributors include Ai, Amy Tan, Anne Sexton, Audre Lorde, Bobbie Louise Hawkins. Camonghne Felix, Carol Muske-Dukes, Diane di Prima, Dorothy Parker, Gloria Naylor, Gloria Steinem, Gwendolyn Brooks, Jean Rhys, Joyce Carol Oates, Judith Arcana, Kathy Acker, Langston Hughes, Leslie Marmon Silko, Lindy West, Lucille Clifton, Mahogany L. Browne, Margaret Atwood, Molly Peacock, Ntozake Shange, Ruth Prawer Jhabvala, Sharon Doubiago, Sharon Olds, Shirley Geok-lin Lim, Sholeh Wolpe, Ursula Le Guin, and Vi Khi Nao.
One young woman. Two very different roads. The choice will change everything. Even as a pregnant, unwed teen in 1974, Sandy Lincoln wanted to do the right thing. But when an ageless woman approached her in a convenience store with a mysterious prophecy and a warning, doing the right thing became even more unclear. She made the best choice she could . . . and has lived with the consequences. More than thirty years later, a pregnant teen has come into her life, and Sandy’s long-ago decision has come back to haunt her. The stakes rise quickly, leaving Sandy with split seconds to choose once more. But will her choice decision bring life . . . or death? "The Choice shows the struggles of unplanned pregnancy and the courageous act of adoption in a way that I haven't read before . . ." —Abby Brannam-Johnson, former Planned Parenthood Director and author of Unplanned "Whitlow captures the struggle of many women trapped in the battle over abortion in a truly sympathetic and affecting way." —Booklist
‘A provocative and important book that every pro-choice advocate should read.’ Sinéad Kennedy, Coalition to Repeal the 8th Amendment When it comes to abortion, today’s liberal climate has produced a common sense that is both pro-choice and anti-abortion. The public are fed an unchanging version of what the abortion choice entails and how women experience it. While it would prove highly unpopular to insist that all pregnant women should carry their pregnancy to term, the idea that abortion could or should be a happy experience for women is virtually unspeakable. In this careful and intelligent work, Erica Millar shows how the emotions of abortion are constructed in sharp contrast to the emotional position occupied by motherhood – the unassailable placeholder for women’s happiness. Through an exposition of the cultural and political forces that continue to influence the decisions women make about their pregnancies – forces that are synonymous with the rhetoric of choice – Millar argues for a radical reinterpretation of women’s freedom.
A PDF version of this book is available for free in open access via the OAPEN Library platform, www.oapen.org. Arguing that neo-Victorian fiction enacts and celebrates cultural memory, this book uses memory discourse to position these novels as dynamic participants in the contemporary historical imaginary.
New Criticism and Pedagogical Directions for Contemporary Black Women Writers is a collection of critical and pedagogical essays that shed new light on the creative depths of Black women writers. On the one hand, some Black women writers have been heavily anthologized, they have more often than not been restricted by critical metanarratives. Some of their works have been lionized while others remain neglected. On the other hand, some Black women writers have been ignored and understudied. This collection corrects the gaps in our critical thinking about Black women writers by introducing them to a new generation of undergraduate and graduate students, and by presenting pedagogical essays to our colleagues currently working in the field.
Sexual blackmail first reached public notice in the late eighteenth century when laws against sodomy were exploited by the unscrupulous to extort money from those they could entrap. Angus McLaren chronicles this parasitic crime, tracing its expansion in England and the United States through the Victorian era and into the first half of the twentieth century. The labeling of certain sexual acts as disreputable, if not actually criminal--abortion, infidelity, prostitution, and homosexuality--armed would-be blackmailers and led to a crescendo of court cases and public scandals in the 1920s and 1930s. As the importance of sexual respectability was inflated, so too was the spectacle of its loss. Charting the rise and fall of sexual taboos and the shifting tides of shame, McLaren enables us to survey evolving sexual practices and discussions. He has mined the archives to tell his story through a host of fascinating characters and cases, from male bounders to designing women, from badger games to gold diggers, from victimless crimes to homosexual outing. He shows how these stories shocked, educated, entertained, and destroyed the lives of their victims. He also demonstrates how muckraking journalists, con men, and vengeful women determined the boundaries of sexual respectability and damned those considered deviant. Ultimately, the sexual revolution of the 1960s blurred the long-rigid lines of respectability, leading to a rapid decline of blackmail fears. This fascinating view of the impact of regulating sexuality from the late Victorian Age to our own time demonstrates the centrality of blackmail to sexual practices, deviance, and the law.
Eugene O'Neill, Nobel Laureate in Literature and Pulitzer Prize winner, is widely known for his full length plays. However, his one-act plays are the foundation of his work - both thematically and stylistically, they telescope his later plays. This collection aims to fill the gap by examining these texts, during what can be considered O'Neill's formative writing years, and the foundational period of American drama. A wide-ranging investigation into O'Neill's one-acts, the contributors shed light on a less-explored part of his career and assist scholars in understanding O'Neill's entire oeuvre.
The public debate on abortion stretches back much further than Roe v. Wade, to long before the terms “pro-choice” and “pro-life” were ever invented. Yet the ways Americans discussed abortion in the early decades of the twentieth century had little in common with our now-entrenched debates about personal responsibility and individual autonomy. Abortion in the American Imagination returns to the moment when American writers first dared to broach the controversial subject of abortion. What was once a topic avoided by polite society, only discussed in vague euphemisms behind closed doors, suddenly became open to vigorous public debate as it was represented everywhere from sensationalistic melodramas to treatises on social reform. Literary scholar and cultural historian Karen Weingarten shows how these discussions were remarkably fluid and far-ranging, touching upon issues of eugenics, economics, race, and gender roles. Weingarten traces the discourses on abortion across a wide array of media, putting fiction by canonical writers like William Faulkner, Edith Wharton, and Langston Hughes into conversation with the era’s films, newspaper articles, and activist rhetoric. By doing so, she exposes not only the ways that public perceptions of abortion changed over the course of the twentieth century, but also the ways in which these abortion debates shaped our very sense of what it means to be an American.