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Originally begun as a project for Women's History Month, these stories are now being published as a collection. Short stories, plays, poems, and essays make up this month long work, one entry for every day of the month. This is the second year of a challenge to write for women, about women, by a woman. The author has extensive history both with being a woman and with writing women, who shares her own journey with you, and brings along some old friends both real and imaginary. Women who find ways to make it in a man's world, women who fight back against men, women who are not able to fight back against men - they are all there. This is the second installment in an ongoing series.
The Light Above is a memoir told through the unfolding stories of two proud daughters of New England—Margaret Fuller, American transcendentalist, women’s rights champion, and public intellectual, alive in the first half of the nineteenth century; and Maria Dintino, the author, daughter of a first-generation Italian American and longtime New Hampshirite. A literary enthusiast, Dintino encounters Fuller and discovers that her stories shed light on her own. Fuller becomes Dintino's guide and teacher, and Dintino gradually deepens in understanding and trust of her own life story. A memoir that reveals the impact of shared stories, extending beyond the limits of time and place.
"A sumptuous selection of short fiction and poetry. . . . Its invitation to share the passion of women's voices characterizes the entire volume."--"USA Today."
For centuries women have been marginalized and overlooked in American literary history. That injustice is corrected in this entertaining and provocative collection of 350 years of poetry and fiction by American women. From Puritan poet Anne Bradstreet to Margaret Fuller to Harriet Beecher Stowe, readers will encounter scores of lesser-known and forgotten writers who fully deserve to be rediscovered and enjoyed by new generations. Our famous women writers, including contemporary stars like Annie Proux and Jhumpa Lahiri, are showcased in their full literary context, offering an epic overview of the canon in one monumental, dazzling volume. This landmark anthology features the best work of our best American women, and was inspired and informed by the author's groundbreaking history celebrating women writers, A Jury of Her Peers.
Women’s Life Writing and Early Modern Ireland provides an original perspective on both new and familiar texts in this first critical collection to focus on seventeenth-century women’s life writing in a specifically Irish context. By shifting the focus away from England—even though many of these writers would have identified themselves as English—and making Ireland and Irishness the focus of their essays, the contributors resituate women’s narratives in a powerful and revealing landscape. This volume addresses a range of genres, from letters to book marginalia, and a number of different women, from now-canonical life writers such as Mary Rich and Ann Fanshawe to far less familiar figures such as Eliza Blennerhassett and the correspondents and supplicants of William King, archbishop of Dublin. The writings of the Boyle sisters and the Duchess of Ormonde—women from the two most important families in seventeenth-century Ireland—also receive a thorough analysis. These innovative and nuanced scholarly considerations of the powerful influence of Ireland on these writers’ construction of self, provide fresh, illuminating insights into both their writing and their broader cultural context.
Margaret Atwood: Feminism and Fiction takes a new look at the complex relationship between Margaret Atwood’s fiction and feminist politics. Examining in detail the concerns and choices of an author who has frequently been termed feminist but has famously rejected the label on many occasions, this book traces the influences of feminism in Atwood’s work and simultaneously plots moments of dissent or debate. Fiona Tolan presents a clear and detailed study of the first eleven novels of one of Canada’s most prominent authors. Each chapter can be read as an individual textual analysis, whilst the chronological structure provides a fascinating insight into the shifting concerns of a popular and influential author over a period of nearly thirty-five years.
More of Mason Currey's irresistible Daily Rituals, this time exploring the daily obstacles and rituals of women who are artists--painters, composers, sculptors, scientists, filmmakers, and performers. We see how these brilliant minds get to work, the choices they have to make: rebuffing convention, stealing (or secreting away) time from the pull of husbands, wives, children, obligations, in order to create their creations. From those who are the masters of their craft (Eudora Welty, Lynn Fontanne, Penelope Fitzgerald, Marie Curie) to those who were recognized in a burst of acclaim (Lorraine Hansberry, Zadie Smith) . . . from Clara Schumann and Shirley Jackson, carving out small amounts of time from family life, to Isadora Duncan and Agnes Martin, rejecting the demands of domesticity, Currey shows us the large and small (and abiding) choices these women made--and continue to make--for their art: Isak Dinesen, "I promised the Devil my soul, and in return he promised me that everything I was going to experience would be turned into tales," Dinesen subsisting on oysters and Champagne but also amphetamines, which gave her the overdrive she required . . . And the rituals (daily and otherwise) that guide these artists: Isabel Allende starting a new book only on January 8th . . . Hilary Mantel taking a shower to combat writers' block ("I am the cleanest person I know") . . . Tallulah Bankhead coping with her three phobias (hating to go to bed, hating to get up, and hating to be alone), which, could she "mute them," would make her life "as slick as a sonnet, but as dull as ditch water" . . . Lillian Hellman chain-smoking three packs of cigarettes and drinking twenty cups of coffee a day--and, after milking the cow and cleaning the barn, writing out of "elation, depression, hope" ("That is the exact order. Hope sets in toward nightfall. That's when you tell yourself that you're going to be better the next time, so help you God.") . . . Diane Arbus, doing what "gnaws at" her . . . Colette, locked in her writing room by her first husband, Henry Gauthier-Villars (nom de plume: Willy) and not being "let out" until completing her daily quota (she wrote five pages a day and threw away the fifth). Colette later said, "A prison is one of the best workshops" . . . Jessye Norman disdaining routines or rituals of any kind, seeing them as "a crutch" . . . and Octavia Butler writing every day no matter what ("screw inspiration"). Germaine de Staël . . . Elizabeth Barrett Browning . . . George Eliot . . . Edith Wharton . . . Virginia Woolf . . . Edna Ferber . . . Doris Lessing . . . Pina Bausch . . . Frida Kahlo . . . Marguerite Duras . . . Helen Frankenthaler . . . Patti Smith, and 131 more--on their daily routines, superstitions, fears, eating (and drinking) habits, and other finely (and not so finely) calibrated rituals that help summon up willpower and self-discipline, keeping themselves afloat with optimism and fight, as they create (and avoid creating) their creations.
A lyrical exploration of love and loss, this book centers on several generations of women in a bucolic southern Black township as they live with and sometimes surrender to madness. The Goode-Brown family, led by matriarch and pillar of the community Minnie Mae, is plagued by old secrets and embarrassment over mental illness and illegitimacy. Meanwhile, single mother Francine Clark is haunted by her dead, lightning-struck husband and forced to fight against both the moral judgment of the community and her own rebellious daughter, Mona. The residents of Opulence struggle with vexing relationships to the land, to one another, and to their own sexuality. As the members of the youngest generation watch their mothers and grandmothers pass away, they live with the fear of going mad themselves and must fight to survive. The author offers up Opulence and its people in lush, poetic detail. It is a world of magic, conjuring, signs, and spells, but also of harsh realities that only love - and love that's handed down - can conquer.
Over the past thirty years, a strong canon of Indigenous feminist literature has addressed how Indigenous women are uniquely and dually affected by colonialism and patriarchy. Indigenous women have long recognized that their intersectional realities were not represented in mainstream feminism, which was principally white, middle-class, and often ignored realities of colonialism. As Indigenous feminist ideals grew, Indigenous women became increasingly multi-vocal, with multiple and oppositional understandings of what constituted Indigenous feminism and whether or not it was a useful concept. Emerging from these dialogues are conversations from a new generation of scholars, activists, artists, and storytellers who accept the usefulness of Indigenous feminism and seek to broaden the concept. In Good Relation captures this transition and makes sense of Indigenous feminist voices that are not necessarily represented in existing scholarship. There is a need to further Indigenize our understandings of feminism and to take the scholarship beyond a focus on motherhood, life history, or legal status (in Canada) to consider the connections between Indigenous feminisms, Indigenous philosophies, the environment, kinship, violence, and Indigenous Queer Studies. Organized around the notion of “generations,” this collection brings into conversation new voices of Indigenous feminist theory, knowledge, and experience. Taking a broad and critical interpretation of Indigenous feminism, it depicts how an emerging generation of artists, activists, and scholars are envisioning and invigorating the strength and power of Indigenous women.
A rich, nuanced exploration of women's anger from a diverse group of writers Women are furious, and we're not keeping it to ourselves any longer. We're expected to be composed and compliant, but in a world that would strip us of our rights, disparage our contributions, and deny us a seat at the table of authority, we're no longer willing to quietly seethe behind tight smiles. We're ready to burn it all down. In this ferocious collection of essays, twenty-two writers explore how anger has shaped their lives: author of the New York Times bestseller The Empathy ExamsLeslie Jamison confesses that she used to insist she wasn't angry -- until she learned that she was; Melissa Febos, author of the Lambda Literary Award-winning memoir Abandon Me, writes about how she discovered that anger can be an instrument of power; editor-in-chief of Bitch Media Evette Dionne dismantles the "angry Black woman" stereotype; and more. Broad-ranging and cathartic, Burn It Down is essential reading for any woman who has scorched with rage -- and is ready to claim her right to express it.