Never Before Has A Single Volume Featured Non-Fiction Writing By Women From Pakistan, India And Bangladesh On The Partion Of India. Here, For The First Time Are Ismat Chughtai, Sara Suleri, Anees Kidwai, Phulrenu Guha, Meghna Guha-Thakurta, Shehla Shibli, Manikuntala Sen, Kamlaben Patel And Many Others, Speaking And Writing About Communalisma Nd Literature, What They Learnt From Refugees, What Partition Means To Them 50 Years Later, And How They Define Themselves--Hindus? Muslims? Indians? Pakistanis? All Of These Or None? Either Or Neither? Not-Indian Not-Pakistani? Bangladeshi Not Pakistani? Above Al, Their Accounts Raise That Most Troubling Question: Do Women Have A Country? An Unusual Mix Of Memoirs, Interviews, Reminiscences And Reflective Essays, This Anthology Is The First Attempt To Present Women`S Voices On The Partion Of India Based On The Experience Of Three Countries.
How do writers and their readers imagine the future in a turbulent time of sex war and sex change? And how have transformations of gender and genre affected literary representations of "woman," "man," "family," and "society"? This final volume in Gilbert and Gubar's landmark three-part No Man's Land: The Place of the Woman Writer in the Twentieth Century argues that throughout the twentieth century women of letters have found themselves on a confusing cultural front and that most, increasingly aware of the artifice of gender, have dispatched missives recording some form of the "future shock" associated with profound changes in the roles and rules governing sexuality. Divided into two parts, Letters from the Front is chronological in organization, with the first section focusing on such writers of the modernist period as Virginia Woolf, Zora Neale Hurston, Edna St. Vincent Millay, Marianne Moore, and H.D., and the second devoted to authors who came to prominence after the Second World War, including Gwendolyn Brooks, Sylvia Plath, Margaret Atwood, Toni Morrison, and A.S. Byatt. Embroiled in the sex antagonism that Gilbert and Gubar traced in The War of the Words and in the sexual experimentations that they studied in Sexchanges, all these artists struggled to envision the inscription of hitherto untold stories on what H.D. called "the blank pages/of the unwritten volume of the new." Through the works of the first group, Gilbert and Gubar focus in particular on the demise of any single normative definition of the feminine and the rise of masquerades of "femininity" amounting to "female female impersonation." In the writings of the second group, the critics pay special attention to proliferating revisions of the family romance--revisions significantly inflected by differences in race, class, and ethnicity--and to the rise of masquerades of masculinity, or "male male impersonation." Throughout, Gilbert and Gubar discuss the impact on literature of such crucial historical events as the Harlem Renaissance, the Second World War, and the "sexual revolution" of the sixties. What kind of future might such a past engender? Their book concludes with a fantasia on "The Further Adventures of Snow White" in which their bravura retellings of the Grimm fairy tale illustrate ways in which future writing about gender might develop.
Germany, 1941: "We live together, or we die together." A novel that will stay with you forever, The Girl Who Survived tells the inspiring true story of Ilse Stein, a German Jew who was imprisoned in a ghetto--and who fell in love with the man she was supposed to loathe. For Ilse life is unrecognizable. A year ago, she wasn't forced to wear a star on her clothes. A year ago, her parents were alive, not yet killed by their own countrymen. A year ago, she had her freedom. Now, at the break of dawn, she steps off the cattle train into a Minsk ghetto. This is Ilse's new home: trapped by barbed wire, surrounded by SS guards she is forbidden to look in the eye, with no choice but to trade the last of her belongings for scraps of food. Sentenced for the crime of simply existing, she doesn't expect to live past the summer. Yet the prisoners in the ghetto refuse to give up--the underground resistance is plotting their escape. Ilse's first act of defiance is smuggling from the munitions factory, slipping bullets into the lining of her pockets. But this is just the beginning... When Ilse meets Wilhem, a local SS administrative officer, she never dreams that her greatest rebellion will be falling for him. Wilhem promises that she will survive, even if the cost is his life. But in a world of such danger, daring to love is the most dangerous risk of all... Fans of The Tattooist of Auschwitz, The Choice, and The Orphan Train will be completely gripped by this heartbreaking tale. Based on a true story, this powerful novel shows that love is stronger than terror, and that when life takes everything from you, death is not to be feared... This book was previously published as No Woman's Land. Readers love Ellie Midwood: "AMAZING read! I loved this so much!... Sensational... One of the most inspiring love stories of all time... HIGHLY HIGHLY RECOMMEND. 100% 5 STARS!!" Goodreads reviewer, ⭐⭐⭐⭐⭐ "Oh, my heart!... Beautiful, chilling, terrifying, and hopeful... Midwood is a wonder with words--I am so in love... I cried, so have tissues at the ready!... I loved every second I spent with this book and cannot wait for more!" Goodreads reviewer, ⭐⭐⭐⭐⭐ "Soul-wrenching... I have been through boxes of Kleenex... Even writing this review I have tears." Goodreads reviewer, ⭐⭐⭐⭐⭐ "I absolutely loved it!!!... Amazing. It was so beautifully written... Amazingly well done." Goodreads reviewer, ⭐⭐⭐⭐⭐ "One of the few books that have left me reeling for days. Talk about having a book hangover!... I smiled, I sighed with relief, I held my breath, I cried. This book gave me all the feels and chills. Hands down, a five-star must-read." Goodreads reviewer, ⭐⭐⭐⭐⭐ "I can officially report that my tear ducts have run completely and utterly dry... Shattered my heart." Notablenoveles, ⭐⭐⭐⭐⭐ "Wow! Just wow... Utterly heartbreaking... I'm speechless." Goodreads reviewer, ⭐⭐⭐⭐⭐
This is Ruth Zacharys fi rst book. It was meant to especially honor lesbian women who have named themselves to proclaim their identity and gender preference. The book is organized according to transitions from early experience to later life. Her poems speak tenderly of the fi rst expressions of loving a woman, the passionate encounters with others in relationships, struggles within society, the excruciating pain of loss, and other issues. Often delivered in rich metaphoric language, they deal with vulnerabilities, strengths, depths of love, and issues of community.
At an unprecedented and probably unique American moment, laboring people were indivisible from the art of the 1930s. By far the most recognizable New Deal art employed an endless frieze of white or racially ambiguous machine proletarians, from solo drillers to identical assembly line toilers. Even today such paintings, particularly those with work themes, are almost instantly recognizable. Happening on a Depression-era picture, one can see from a distance the often simplified figures, the intense or bold colors, the frozen motion or flattened perspective, and the uniformity of laboring bodies within an often naive realism or naturalism of treatment. In a kind of Social Realist dance, the FAP’s imagined drillers, haulers, construction workers, welders, miners, and steel mill workers make up a rugged industrial army. In an unusual synthesis of art and working-class history, Labor’s Canvas argues that however simplified this golden age of American worker art appears from a post-modern perspective, The New Deal’s Federal Art Project (FAP), under the aegis of the Works Progress Administration (WPA), revealed important tensions. Artists saw themselves as cultural workers who had much in common with the blue-collar workforce. Yet they struggled to reconcile social protest and aesthetic distance. Their canvases, prints, and drawings registered attitudes toward laborers as bodies without minds often shared by the wider culture. In choosing a visual language to reconnect workers to the larger society, they tried to tell the worker from the work with varying success. Drawing on a wealth of social documents and visual narratives, Labor’s Canvas engages in a bold revisionism. Hapke examines how FAP iconography both chronicles and reframes working-class history. She demonstrates how the New Deal’s artistically rendered workforce history reveals the cultural contradictions about laboring people evident even in the depths of the Great Depression, not the least in the imaginations of the FAP artists themselves.
Does modernity trample on tradition, or can it in fact be a vehicle for the sacred? How can one determine whether an interpretation is legitimate, anachronistic or corrupted? Does sexual obsession have a textual origin, and is it woman's destiny to be veiled? In Eve's Attire confronts these questions and more to suggest another interpretation of religious traditions surrounding the female body and the erotic. As current fundamentalist religious discourse expresses a growing fixation on modesty, women are increasingly reduced to those parts of their bodies that arouse desire, effectively "genitalised" until the totality of their bodies becomes taboo. In resistance to such interpretations of religious text, which see even a woman's voice as an erotic organ to be silenced, Rabbi Delphine Horvilleur looks not only at religious texts themselves, but also at their interpreters, as she unpicks readings that make the woman a temptress, and modesty the instrument of her oppression. She shows us how nakedness, as expressed by Adam, Eve or Noah, refers to a culture of desire and not a wish to suppress it and explores how the veil was originally intended: not to reject, but to approach the other. Through her analysis of the meaning of modesty and nudity in Judaism, Delphine Horvilleur explores the societal and religious obsession with the female body and its representation and asks questions about how we can engage more critically with interpretations of sacred texts. Translated from the French by Ruth Diver
This volume was first published by Inter-Disciplinary Press in 2015. Storytelling has always played a central role in the formation of cultures and communities. All cultures define themselves and their place in the world through their stories. Similarly, our identities are largely constructed as narratives, and it is with the aid of storytelling that we manage to conceive of ourselves – our selves – as meaningful wholes. Thus, storytelling is not ever absent: it is to be found in literature, social life, in the places we visit and the buildings we live in. This volume presents storytelling in various appearances: from ancient myths and oral history, to transmedia narratives and digital stories. Different forms of narrative are analysed, as is the use of storytelling as a method for e.g. counselling, education and research. Throughout twenty-five chapters, a compelling overview of recent research on the topic is provided, both stressing the omnipresence of storytelling and exploring what storytelling is and isn’t.
This book investigates the connection between women's writing about WWI and the development of literary modernisms, focusing on issues of gender which remain topical today. Drawing on a wealth of unpublished diaries and letters, the book examines the way in which the new roles undertaken by women triggered a search for new forms of expression. Blending literary criticism and history, the book contributes to the scholarship of women and expands our definition of modernisms.
