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Written by a superb novelist of contemporary manners, The Women in Black is a fairytale which illuminates the extraordinariness of ordinary lives. The women in black are run off their feet, what with the Christmas rush and the summer sales that follow. But it's Sydney in the 1950s, and there's still just enough time left on a hot and frantic day to dream and scheme...By the time the last marked-down frock has been sold, most of the staff of the Ladies' Cocktail section at F. G. Goode's have been launched into slightly different careers. With the lightest touch and the most tender of comic instincts, Madeleine St John conjures a vanished summer of innocence. The Women in Black, introduced by Bruce Beresford, is a great novel, a lost Australian classic. Madeleine St John was born in Sydney in 1941. She studied Arts at Sydney University, where her contemporaries included Bruce Beresford, Germaine Greer, Clive James and Robert Hughes. In 1993, St John published her first novel, The Women in Black, the only book she set in Australia. Her third novel, The Essence of the Thing (1997), was shortlisted for the Man Booker Prize. Bruce Beresford is one of Australia's best known film and opera directors. His films include The Getting of Wisdom, Driving Miss Daisy and Breaker Morant. textclassics.com.au 'Seductive, hilarious, brilliantly observed, this novel shimmers with wit and tenderness.' Helen Garner 'An exceptional writer. Those of us who knew her at Sydney University back in the late 1950s are still trying to forgive ourselves that we never guessed what she would become.' Clive James 'A knockout - ironic, sharp, alive, and then you're stopped in your tracks by the warmth of her insights.' Joan London 'A little gem...shot through with old-fashioned innocence and sly humour.' Vogue 'A highly sophisticated work, full of funny, sharp and subtle observations...a small masterpiece.' Sunday Times(UK) 'There is something special about...The Women in Black. St John's tone is...a joy: brisk, perfectly managed and, in its disdain for clutter, oddly life-affirming. She casts an airy spell with the deftness of her prose, which moves gracefully, swiftly and with perfect manners...[St John] conjures a Sydney on the cusp of modern promise; a place where her characters can meet the future with a bright face and step out of the past like an old dress, where limits can be lightly shaken off.' Delia Falconer, Australian ‘An excellent read.’ Starts at 60
“The book I most often give as a gift to cheer people up.” —Hilary Mantel “Tart, beguiling, witty and compassionate, Madeleine St. John’s novel is a literary boost for the spirits.” —Maureen Corrigan, Fresh Air “A deceptively smart comic gem.” –The New York Times Book Review “Witty and delicious.” –People The women in black, so named for the black frocks they wear while working at Goode’s department store, are busy selling ladies’ dresses during the holiday rush. But they somehow find time to pursue other goals… Patty, in her mid-thirties, has been working at Goode’s for years. Her husband, Frank, eats a steak for dinner every night, watches a few minutes of TV, and then turns in. Patty yearns for a baby, but Frank is always too tired for that kind of thing. Sweet, unlucky Fay wants to settle down with a nice man, but somehow nice men don’t see her as marriage material. Glamorous Magda runs the high-end gowns department. A Slovenian émigré, Magda is cultured and continental and hopes to open her own boutique one day. Lisa, a clever and shy teenager, takes a job at Goode’s during her school break. Lisa wants to go to university and dreams of becoming a poet, but her father objects to both notions. By the time the last marked-down dress is sold, all of their lives will be forever changed. A pitch-perfect comedy of manners set during a pivotal era, and perfect for fans of The Marvelous Mrs. Maisel, The Women in Black conjures the energy of a city on the cusp of change and is a testament to the timeless importance of female friendship.
Proud and solitary, Eel Marsh House surveys the windswept reaches of the salt marshes beyond Nine Lives Causeway. Arthur Kipps, a junior solicitor, is summoned to attend the funeral of Mrs Alice Drablow, the house's sole inhabitant, unaware of the tragic secrets which lie hidden behind the shuttered windows. It is not until he glimpses a pale young woman, dressed all in black, at the funeral, that a creeping sense of unease begins to take hold, a feeling deepened by the reluctance of the locals to talk of the woman in black - and her terrible purpose.
Though today she is little known, Mary Church Terrell (1863-1954) was one of the most remarkable women of the late nineteenth and early twentieth centuries. Active in both the civil rights movement and the campaign for women's suffrage, Terrell was a leading spokesperson for the National American Woman Suffrage Association, the first president of the National Association of Colored Women, and the first black woman appointed to the District of Columbia Board of Education and the American Association of University Women. She was also a charter member of the National Association for the Advancement of Colored People. In this autobiography, originally published in 1940, Terrell describes the important events and people in her life.Terrell began her career as a teacher, first at Wilberforce College and then at a high school in Washington, D.C., where she met her future husband, Robert Heberton Terrell. After marriage, the women's suffrage movement attracted her interests and before long she became a prominent lecturer at both national and international forums on women's rights. A gifted speaker, she went on to pursue a career on the lecture circuit for close to thirty years, delivering addresses on the critical social issues of the day, including segregation, lynching, women's rights, the progress of black women, and various aspects of black history and culture. Her talents and many leadership positions brought her into close contact with influential black and white leaders, including Frederick Douglass, Booker T. Washington, Paul Laurence Dunbar, Robert Ingersoll, Elizabeth Cady Stanton, Susan B. Anthony, Jane Addams, and others.With a new introduction by Debra Newman Ham, professor of history at Morgan State University, this new edition of Mary Church Terrell's autobiography will be of interest to students and scholars of both women's studies and African American history.
A pioneering, dazzling satire about a biracial black girl from Philadelphia searching for her Jewish father in New York City Oreo is raised by her maternal grandparents in Philadelphia. Her black mother tours with a theatrical troupe, and her Jewish deadbeat dad disappeared when she was an infant, leaving behind a mysterious note that triggers her quest to find him. What ensues is a playful, modernized parody of the classical odyssey of Theseus with a feminist twist, immersed in seventies pop culture, and mixing standard English, black vernacular, and Yiddish with wisecracking aplomb. Oreo, our young hero, navigates the labyrinth of sound studios and brothels and subway tunnels in Manhattan, seeking to claim her birthright while unwittingly experiencing and triggering a mythic journey of self-discovery like no other.
This acclaimed biography shines a light on a trailblazing woman who created a classic movie monster—and the author’s quest to rescue her from obscurity. As a teenager, Mallory O’Meara was thrilled to discover that one of her favorite movies, Creature from the Black Lagoon, featured a monster designed by a woman, Milicent Patrick. But while Patrick should have been hailed as a pioneer in the genre, there was little information available about her. As O’Meara discovered, Patrick’s contribution had been claimed by a jealous male colleague and her career had been cut short. No one even knew if she was still alive. As a young woman working in the horror film industry, O’Meara set out to right the wrong, and in the process discovered the full, fascinating story of an ambitious, artistic woman ahead of her time. Patrick’s contribution to special effects proved to be just the latest chapter in a remarkable, unconventional life, from her youth growing up in the shadow of Hearst Castle, to her career as one of Disney’s first female animators. And at last, O’Meara discovered what really had happened to Patrick after The Creature’s success, and where she went. A true-life detective story and a celebration of a forgotten feminist trailblazer, Mallory O’Meara’s The Lady from the Black Lagoon establishes Patrick in her rightful place in film history while calling out a Hollywood culture where little has changed since. A Hugo and Locus Award Finalist A Thrillist Best Book of the Year One of Booklist’s 10 Best Art Books of the Year
Published in 1982, But Some of Us Are Brave was the first-ever Black women's studies reader and a foundational text of contemporary feminism. Featuring writing from eminent scholars, activists, teachers, and writers, such as the Combahee River Collective and Alice Walker, All the Women Are White, All the Blacks Are Men, But Some of Us Are Bravechallenges the absence of Black feminist thought in women’s studies, confronts racism, and investigates the mythology surrounding Black women in the social sciences. As the first comprehensive collection of Black feminist scholarship, But Some of Us Are Brave was recognized by Audre Lorde as “the beginning of a new era, where the ‘women’ in women’s studies will no longer mean ‘white.’” Coeditors Akasha (Gloria T.) Hull, Patricia Bell-Scott, and Barbara Smith are authors and former women's studies professors. Brittney C. Cooper is a professor of Women's and Gender Studies and Africana Studies at Rutgers University. She is the author of several books, including Eloquent Rage, named by Emma Watson as an Our Shared Shelf read for November/December 2018.
Four young Black sisters come of age during the American Civil War in So Many Beginnings, a warm and powerful YA remix of the classic novel Little Women, by national bestselling author Bethany C. Morrow. North Carolina, 1863. As the American Civil War rages on, the Freedpeople's Colony of Roanoke Island is blossoming, a haven for the recently emancipated. Black people have begun building a community of their own, a refuge from the shadow of the "old life." It is where the March family has finally been able to safely put down roots with four young daughters: Meg, a teacher who longs to find love and start a family of her own. Jo, a writer whose words are too powerful to be contained. Beth, a talented seamstress searching for a higher purpose. Amy, a dancer eager to explore life outside her family's home. As the four March sisters come into their own as independent young women, they will face first love, health struggles, heartbreak, and new horizons. But they will face it all together. Praise for So Many Beginnings: A Little Women Remix "Morrow’s ability to take the lingering stain of slavery on American history and use it as a catalyst for unbreakable love and resilience is flawless. That she has remixed a canonical text to do so only further illuminates the need to critically question who holds the pen in telling our nation’s story." —Booklist, starred review "Bethany C. Morrow's prose is a sharpened blade in a practiced hand, cutting to the core of our nation's history. ... A devastatingly precise reimagining and a joyful celebration of sisterhood. A narrative about four young women who unreservedly deserve the world, and a balm for wounds to Black lives and liberty." —Tracy Deonn, New York Times-bestselling author of Legendborn "A tender and beautiful retelling that will make you fall in love with the foursome all over again." —Tiffany D. Jackson, New York Times-bestselling author of White Smoke and Grown
From the author of the National Book Award finalist Black Leopard, Red Wolf and the WINNER of the 2015 Man Booker Prize for A Brief History of Seven Killings "An undeniable success.” — The New York Times Book Review A true triumph of voice and storytelling, The Book of Night Women rings with both profound authenticity and a distinctly contemporary energy. It is the story of Lilith, born into slavery on a Jamaican sugar plantation at the end of the eighteenth century. Even at her birth, the slave women around her recognize a dark power that they- and she-will come to both revere and fear. The Night Women, as they call themselves, have long been plotting a slave revolt, and as Lilith comes of age they see her as the key to their plans. But when she begins to understand her own feelings, desires, and identity, Lilith starts to push at the edges of what is imaginable for the life of a slave woman, and risks becoming the conspiracy's weak link. But the real revelation of the book-the secret to the stirring imagery and insistent prose-is Marlon James himself, a young writer at once breath­takingly daring and wholly in command of his craft.
The instant New York Times bestseller and companion book to the PBS series. “Absolutely brilliant . . . A necessary and moving work.” —Eddie S. Glaude, Jr., author of Begin Again “Engaging. . . . In Gates’s telling, the Black church shines bright even as the nation itself moves uncertainly through the gloaming, seeking justice on earth—as it is in heaven.” —Jon Meacham, New York Times Book Review From the New York Times bestselling author of Stony the Road and The Black Box, and one of our most important voices on the African American experience, comes a powerful new history of the Black church as a foundation of Black life and a driving force in the larger freedom struggle in America. For the young Henry Louis Gates, Jr., growing up in a small, residentially segregated West Virginia town, the church was a center of gravity—an intimate place where voices rose up in song and neighbors gathered to celebrate life's blessings and offer comfort amid its trials and tribulations. In this tender and expansive reckoning with the meaning of the Black Church in America, Gates takes us on a journey spanning more than five centuries, from the intersection of Christianity and the transatlantic slave trade to today’s political landscape. At road’s end, and after Gates’s distinctive meditation on the churches of his childhood, we emerge with a new understanding of the importance of African American religion to the larger national narrative—as a center of resistance to slavery and white supremacy, as a magnet for political mobilization, as an incubator of musical and oratorical talent that would transform the culture, and as a crucible for working through the Black community’s most critical personal and social issues. In a country that has historically afforded its citizens from the African diaspora tragically few safe spaces, the Black Church has always been more than a sanctuary. This fact was never lost on white supremacists: from the earliest days of slavery, when enslaved people were allowed to worship at all, their meetinghouses were subject to surveillance and destruction. Long after slavery’s formal eradication, church burnings and bombings by anti-Black racists continued, a hallmark of the violent effort to suppress the African American struggle for equality. The past often isn’t even past—Dylann Roof committed his slaughter in the Mother Emanuel AME Church 193 years after it was first burned down by white citizens of Charleston, South Carolina, following a thwarted slave rebellion. But as Gates brilliantly shows, the Black church has never been only one thing. Its story lies at the heart of the Black political struggle, and it has produced many of the Black community’s most notable leaders. At the same time, some churches and denominations have eschewed political engagement and exemplified practices of exclusion and intolerance that have caused polarization and pain. Those tensions remain today, as a rising generation demands freedom and dignity for all within and beyond their communities, regardless of race, sex, or gender. Still, as a source of faith and refuge, spiritual sustenance and struggle against society’s darkest forces, the Black Church has been central, as this enthralling history makes vividly clear.