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Natural Enemies of Books' is a response to the groundbreaking 1937 publication 'Bookmaking on the Distaff Side', which brought together contributions by women printers, illustrators, authors, printers, typographers and typesetters, highlighting the print industry?s inequalities and proposing a takeover of the history of the book.00Edited by feminist graphic design collective MMS (Maryam Fanni, Matilda Flodmark and Sara Kaaman), 'Natural Enemies of Books' includes newly commissioned essays and poems by Kathleen Walkup, Ida Börjel, Jess Baines, Ulla Wikander and conversations with former typesetters Inger Humlesjö, Ingegärd Waaranperä, Gail Cartmail and Megan Downey, as well as reprints of the original book and other publications.0.
• Gold-medal winner of the Nautilus Book Award for memoir (2020) • Gold-medal winner of the National Indie Excellence Award for memoir (2020) • Featured on Moms Don't Have Time to Read Books podcast. (2020) "A stirring memoir that beautifully and humorously captures the pain of unresolved loss.” — Kirkus Reviews The true story of a woman whose life is up-ended when she begins an armchair treasure hunt—a search for $10,000 worth of gold coins buried in New York City, of all places—with a man who, as she points out, is not her husband. In this eloquent, hilarious, sharply realized memoir, Sandra A. Miller grapples with the death of her difficult mother and the regret and confusion that so often accompanies middle age. In a very real way, Miller has spent her life hunting for buried treasure. As a child, she trained herself to find things: dropped hair clips, shiny bits of broken glass, discarded lighters. Looking to escape from her volatile parents and often-unhappy childhood, Miller found deeper meaning, and a good deal of hope, in each of these objects. Now an adult and facing the loss of her last living parent—her mother who is at once cold, difficult, and wildly funny—Miller finds herself, as she so often did as a little girl, pressed against a wall of her own longing. Her search for gold, which soon becomes an obsession, forces her to dredge up painful pieces of her past, confront the true source of her sorrow, and finally discover what it is she has been looking for all these years. "Trove is the treasure. It's the kind of story that gives you a new best friend in a narrator. Your get to travel with her on an emotional journey with laughs and tears. I am happy to be shut in with this wonderful story that has taken me to so many places." — Meredith Goldstein, advice columnist and entertainment reporter for The Boston Globe.
Includes an excerpt from The blacksmith's daughter: a mystery of the American Revolution by Suzanne Adair.
The astoundingly vibrant three-dimensional paper artworks in this book will stop paper art fans of all levels in their tracks. After the initial amazement, enjoy trying this method yourself, expanding your skills at your own pace with highly regarded artist Yulia Brodskaya's guidance. Using two simple materials--paper and glue--she's perfected the placement of carefully cut and bent strips of paper to "paint" images. Brodskaya offers not a predictable project book, but instead practical tips on how to work with her method in various ways of your own. See how this method gives new impact to lettering, nature themes, portraits, larger pieces, and experiments. Learn how to choose colors, the importance of testing compositions, which part of the image to start with, and when to consider it complete. Inspiring for its artworks alone, this is also a colorful starting point for anyone interested in working with paper, and full of practical ideas for artists who want to advance their creative thinking.
Stephanie J. Shaw takes us into the inner world of American black professional women during the Jim Crow era. This is a story of struggle and empowerment, of the strength of a group of women who worked against daunting odds to improve the world for themselves and their people. Shaw's remarkable research into the lives of social workers, librarians, nurses, and teachers from the 1870s through the 1950s allows us to hear these women's voices for the first time. The women tell us, in their own words, about their families, their values, their expectations. We learn of the forces and factors that made them exceptional, and of the choices and commitments that made them leaders in their communities. What a Woman Ought to Be and to Do brings to life a world in which African-American families, communities, and schools worked to encourage the self-confidence, individual initiative, and social responsibility of girls. Shaw shows us how, in a society that denied black women full professional status, these girls embraced and in turn defined an ideal of "socially responsible individualism" that balanced private and public sphere responsibilities. A collective portrait of character shaped in the toughest circumstances, this book is more than a study of the socialization of these women as children and the organization of their work as adults. It is also a study of leadership—of how African American communities gave their daughters the power to succeed in and change a hostile world.
Collects the private correspondence between Georgia O'Keeffe and Alfred Stieglitz, revealing the ups and downs of their marriage, their thoughts on their work, and their friendships with other artists.
During the oppressive reign of Louis XIV, Gabrielle Suchon (1632–1703) was the most forceful female voice in France, advocating women’s freedom and self-determination, access to knowledge, and assertion of authority. This volume collects Suchon’s writing from two works—Treatise on Ethics and Politics (1693) and On the Celibate Life Freely Chosen; or, Life without Commitments (1700)—and demonstrates her to be an original philosophical and moral thinker and writer. Suchon argues that both women and men have inherently similar intellectual, corporeal, and spiritual capacities, which entitle them equally to essentially human prerogatives, and she displays her breadth of knowledge as she harnesses evidence from biblical, classical, patristic, and contemporary secular sources to bolster her claim. Forgotten over the centuries, these writings have been gaining increasing attention from feminist historians, students of philosophy, and scholars of seventeenth-century French literature and culture. This translation, from Domna C. Stanton and Rebecca M. Wilkin, marks the first time these works will appear in English.
“Can anything new be said about modern Egyptian nationalism? Beth Baron's book Egypt as a Woman, one of the best modern Egyptian history books to appear in several years, leaves no doubt that it can. With evenhandedness and generosity, Baron shows how vital women were to mobilizing opposition to British authority and modernizing Egypt.”—Robert L. Tignor, author of Capitalism and Nationalism at the End of Empire “A wonderful contribution to understanding Egyptian national and gender politics between the two world wars. Baron explores the paradox of women’s exclusion from political rights at the very moment when visual and metaphorical representations of Egypt as a woman were becoming widespread and real women activists—both secularist and Islamist—were participating more actively in public life than ever before.”—Donald Malcolm Reid, author of Whose Pharaohs? Archaeology, Museums, and Egyptian National Identity from Napoleon to World War I
While much has been written about the impact of the 1979 Islamic revolution on life in Iran, discussions about the everyday life of Iranian women have been glaringly missing. Women in Place offers a gripping inquiry into gender segregation policies and women’s rights in contemporary Iran. Author Nazanin Shahrokni takes us onto gender-segregated buses, inside a women-only park, and outside the closed doors of stadiums where women are banned from attending men’s soccer matches. The Islamic character of the state, she demonstrates, has had to coexist, fuse, and compete with technocratic imperatives, pragmatic considerations regarding the viability of the state, international influences, and global trends. Through a retelling of the past four decades of state policy regulating gender boundaries, Women in Place challenges notions of the Iranian state as overly unitary, ideological, and isolated from social forces and pushes us to contemplate the changing place of women in a social order shaped by capitalism, state-sanctioned Islamism, and debates about women’s rights. Shahrokni throws into sharp relief the ways in which the state strives to constantly regulate and contain women’s bodies and movements within the boundaries of the “proper” but simultaneously invests in and claims credit for their expanded access to public spaces.