Download Free Women Writers Their Works And Ways Book in PDF and EPUB Free Download. You can read online Women Writers Their Works And Ways and write the review.

Discusses the obstacles women have had to overcome in order to become writers, and identifies the sexist rationalizations used to trivialize their contributions
Women Writers of the American West, 1833–1927 recovers the names and works of hundreds of women who wrote about the American West during the nineteenth and early twentieth centuries, some of them long forgotten and others better known novelists, poets, memoirists, and historians such as Willa Cather and Mary Austin Holley. Nina Baym mined literary and cultural histories, anthologies, scholarly essays, catalogs, advertisements, and online resources to debunk critical assumptions that women did not publish about the West as much as they did about other regions. Elucidating a substantial body of nearly 650 books of all kinds by more than 300 writers, Baym reveals how the authors showed women making lives for themselves in the West, how they represented the diverse region, and how they represented themselves. Baym accounts for a wide range of genres and geographies, affirming that the literature of the West was always more than cowboy tales and dime novels. Nor did the West consist of a single landscape, as women living in the expanses of Texas saw a different world from that seen by women in gold rush California. Although many women writers of the American West accepted domestic agendas crucial to the development of families, farms, and businesses, they also found ways to be forceful agents of change, whether by taking on political positions, deriding male arrogance, or, as their voluminous published works show, speaking out when they were expected to be silent.
This volume explores the lives and works of nine Northern women who wrote during the Civil War period, examining the ways in which, through their writing, they engaged in the national debates of the time. Lyde Sizer shows that from the 1850 publication of Uncle Tom's Cabin through Reconstruction, these women, as well as a larger mosaic of lesser-known writers, used their mainstream writings publicly to make sense of war, womanhood, Union, slavery, republicanism, heroism, and death. Among the authors discussed are Lydia Maria Child, Harriet Beecher Stowe, Sara Willis Parton (Fanny Fern), Frances Ellen Watkins Harper, Mrs. E. D. E. N. Southworth, Mary Abigail Dodge (Gail Hamilton), Louisa May Alcott, Rebecca Harding Davis, and Elizabeth Stuart Phelps. Although direct political or partisan power was denied to women, these writers actively participated in discussions of national issues through their sentimental novels, short stories, essays, poetry, and letters to the editor. Sizer pays close attention to how these mostly middle-class women attempted to create a "rhetoric of unity," giving common purpose to women despite differences in class, race, and politics. This theme of unity was ultimately deployed to establish a white middle-class standard of womanhood, meant to exclude as well as include.
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.
From the Pulitzer Prize-winning author of Night Watch: the reputation-making debut short story collection that paved the way for a new generation of writers. • “Brilliant … Phillips is a virtuoso.” —The Chicago Tribune Jayne Anne Phillips's reputation-making debut collection paved the way for a new generation of writers. Raved about by reviewers and embraced by the likes of Raymond Carver, Frank Conroy, Annie Dillard, and Nadine Gordimer, Black Tickets now stands as a classic. With an uncanny ability to depict the lives of men and women who rarely register in our literature, Phillips writes stories that lay bare their suffering and joy. Here are the abused and the abandoned, the violent and the passive, the impoverished and the disenfranchised who populate the small towns and rural byways of the country. A patron of the arts reserves his fondest feeling for the one man who wants it least. A stripper, the daughter of a witch, escapes from poverty into another kind of violence. A young girl during the Depression is caught between the love of her crazy father and the no less powerful love of her sorrowful mother. These are great American stories that have earned a privileged place in our literature.
The Way of the Woman Writer, Second Edition continues the work of the inspirational original, offering guidance to women who wish to document their lives in writing. More a template than a how-to manual, this insightful book addresses the concerns, needs, and issues of women writers (both aspiring and experienced), concentrating on the internal process of putting thought to paper, including new chapters on the creative process and the ethics and integrity of writing. The author, Dr. Janet Lynn Roseman, offers writing exercises in women's autobiography that draw on the significant rhythms of a woman's life, utilizing visualization and meditation techniques to amplify the inner writing voice. From the author: "What strikes me in re-examining the text of this book is just how timeless the subject of chronicling women's lives is. When we pass down our stories and share them with family and friends, we provide future generations with the opportunity to not only understand the lives of each woman, but we are able to gain insight into their unique experiences." The Way of the Woman Writer, Second Edition includes new writing samples and new chapters on: “The Creative Spirit,” which presents a seven-step guide to the creative process-ritual, surrender, silence, waiting, trust, recognition, and distance “The Ethics and Integrity of Writing,” which addresses the discipline and courage a writer needs when dealing with the effects of her autobiographical “truths” on others The Way of the Woman Writer, Second Edition is an essential resource for creative writing courses, oral history courses, writer's workshops, and women's studies programs, and an invaluable guide for any woman who wishes to tell her story.
Finalist, 2023 National Jewish Book Award Winners in Women’s Studies In Women Writing Jewish Modernity, 1919–1939, Allison Schachter rewrites Jewish literary modernity from the point of view of women. Focusing on works by interwar Hebrew and Yiddish writers, Schachter illuminates how women writers embraced the transgressive potential of prose fiction to challenge the patriarchal norms of Jewish textual authority and reconceptualize Jewish cultural belonging. Born in the former Russian and Austro‐Hungarian Empires and writing from their homes in New York, Poland, and Mandatory Palestine, the authors central to this book—Fradl Shtok, Dvora Baron, Elisheva Bikhovsky, Leah Goldberg, and Debora Vogel—seized on the freedoms of social revolution to reimagine Jewish culture beyond the traditionally male world of Jewish letters. The societies they lived in devalued women’s labor and denied them support for their work. In response, their writing challenged the social hierarchies that excluded them as women and as Jews. As she reads these women, Schachter upends the idea that literary modernity was a conversation among men about women, with a few women writers listening in. Women writers revolutionized the very terms of Jewish fiction at a pivotal moment in Jewish history, transcending the boundaries of Jewish minority identities. Schachter tells their story and in so doing calls for a new way of thinking about Jewish cultural modernity.
This new title brings together overviews and in-depth analysis of hundreds of American women writers, from Colonial America to present day. This work concentrates on women writers of literature, including novels, short stories, poetry, and drama. Essays include a personal biography and a summary of works, with valuable top matter details and further reading sections. The volumes include reviews and excerpts of the writer's most acclaimed works to give the researcher a unique, comprehensive perspective
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.
In this collection of interviews taken from The Paris Review, sixteen of the world's great women writers speak about their work, their colleagues and their lives. Women Writers at Work revisits classic interviews with Rebecca West and Simone de Beauvoir along with exchanges with Toni Morrison, Maya Angelou and Nadine Gordimer, showing how different generations have found their voices. They talk about where they write.They talk about how they write. Most importantly they discuss why and what they write. As Margaret Atwood points out in her bracing introduction, the 'Women Writers' here cannot be put into a box, neatly labelled WW. The label should probably read WWAAW, 'Writers Who Are Also Women.' What unites them is less their gender than their commitment to the craft of writing and to life. Each interview is accompanied by a biographical and critical profile, a photograph of the writer and a facsimile manuscript page.