Particular Friendships: A Convent Memoir offers a rare glimpse inside the walls of a Roman Catholic convent in the late 1960s. The young narrator arrives with gentle visions spawned by The Sound of Music, only to encounter the harshness of life in this secretive society. Her wit, compassion, and musicality foment a rebellion against rules forbidding expressions of joy and intimacy, as she struggles between allegiance to the heart and her vow of blind obedience to flawed and abusive superiors. Recently filed lawsuits against the Church suggest that the timing could not be better for an ex-nun's memoir. Part mystery, part coming of age story, this narrative seeks neither to damn nor to exonerate but to uncover the truth.
Particular Friendships: A Convent Memoir offers a rare glimpse inside the walls of a Roman Catholic convent in the late 1960s. The young narrator arrives with gentle visions spawned by The Sound of Music, only to encounter the harshness of life in this secretive society. Her wit, compassion, and musicality foment a rebellion against rules forbidding expressions of joy and intimacy, as she struggles between allegiance to the heart and her vow of blind obedience to flawed and abusive superiors. Recently filed lawsuits against the Church suggest that the timing could not be better for an ex-nuns memoir. Part mystery, part coming of age story, this narrative seeks neither to damn nor to exonerate but to uncover the truth.
Ingrid Bergman’s engaging screen performance as Sister Mary Benedict in The Bells of St. Mary’s made the film nun a star and her character a shining standard of comparison. She represented the religious life as the happy and rewarding choice of a modern woman who had a “complete understanding” of both erotic and spiritual desire. How did this vibrant and mature nun figure come to be viewed as girlish and naïve? Why have she and her cinematic sisters in postwar popular film so often been stereotyped or selectively analyzed, so seldom been seen as women and religious? In Veiled Desires—a unique full-length, in-depth look at nuns in film—Maureen Sabine explores these questions in a groundbreaking interdisciplinary study covering more than sixty years of cinema. She looks at an impressive breadth of films in which the nun features as an ardent lead character, including The Bells of St. Mary’s (1945), Black Narcissus (1947), Heaven Knows, Mr. Allison (1957), Sea Wife (1957), The Nun’s Story (1959), The Sound of Music (1965), Change of Habit (1969), In This House of Brede (1975), Agnes of God (1985), Dead Man Walking (1995), and Doubt (2008). Veiled Desires considers how the beautiful and charismatic stars who play chaste nuns, from Ingrid Bergman and Audrey Hepburn to Susan Sarandon and Meryl Streep, call attention to desires that the veil concealed and the habit was thought to stifle. In a theologically and psychoanalytically informed argument, Sabine responds to the critics who have pigeonholed the film nun as the obedient daughter and religious handmaiden of a patriarchal church, and the respectful audience who revered her as an icon of spiritual perfection. Sabine provides a framework for a more complex and holistic picture of nuns onscreen by showing how the films dramatize these women’s Christian call to serve, sacrifice, and dedicate themselves to God, and their erotic desire for intimacy, agency, achievement, and fulfillment.
The argument has been made that memoir reflects and augments the narcissistic tendencies of our neo-liberal age. The Literature of Remembering: Tracing the Limits of Memoir challenges and dismantles that assumption. Focusing on the history, theory and practice of memoir writing, editors Bunty Avieson, Fiona Giles and Sue Joseph provide a thorough and cutting-edge examination of memoir through the lenses of ethics, practice and innovation. By investigating memoir across cultural boundaries, in its various guises, and tracing its limits, the editors convincingly demonstrate the plurality of ways in which memoir is helping us make sense of who we are, who we were and the influences that shape us along the way.
From An Affair to Remember to Legally Blonde, "chick flicks" have long been both championed and vilified by women and men, scholars and popular audiences. Like other forms of "chick culture," which the editors define as a group of mostly American and British popular culture media forms focused primarily on twenty- to thirtysomething, middle-class—and frequently college-educated—women, chick flicks have been accused of reinscribing traditional attitudes and reactionary roles for women. On the other hand, they have been embraced as pleasurable and potentially liberating entertainments, assisting women in negotiating the challenges of contemporary life. A companion to the successful anthology Chick Lit: The New Woman’s Fiction, this edited volume consists of 11 original essays, prefaced by an introduction situating chick flicks within the larger context of chick culture as well as women’s cinema. The essays consider chick flicks from a variety of angles, touching on issues of film history, female sexuality (heterosexual and homosexual), femininity, female friendship, age, race, ethnicity, class, consumerism, spectatorship, pleasure and gender definition. An afterword by feminist film theorist Karen Hollinger considers the chick flick’s transformation from the woman’s films of the ’40s to the friendship films of the ’80s and those of the "return to the classics" trend of the ’90s, while highlighting the value of the volume’s contributions to contemporary debates and sketching possibilities for further study.
English Roman Catholic women’s congregations are an enigma of nineteenth-century social history. Over ten thousand nuns and sisters, establishing and managing significant Catholic educational, health care and social welfare institutions in England and Wales, have virtually disappeared from history. Despite their exclusion from historical texts, these women featured prominently in the public and private sphere. Intertwining the complexities of class with the notion of ethnicity, Contested identities examines the relationship between English and Irish-born sisters. This study is relevant not only to understanding women religious and Catholicism in nineteenth-century England and Wales, but also to our understanding of the role of women in the public and private sphere, dealing with issues still resonant today. Contributing to the larger story of the agency of nineteenth-century women and the broader transformation of English society, this book will appeal to scholars and students of social, cultural, gender and religious history.
A harrowing and moving memoir about childhood and coming to terms with the past 'Simple yet shocking ... Sad and disturbing, it's unexpectedly uplifting too' Elle 'A searing account of the emotional and physical cruelty meted out at the orphanage' Sunday Times In the 1950s, shortly after her father's death, Judith Kelly was left in the care of nuns at a Catholic orphanage while her mother searched for a place for them to live. She was eight years old. But far from being cared for, Judith found herself in a savage and terrifying institution where physical, emotional and sexual abuse was the daily norm and the children's lives were reduced to stark survival. As the months became years and no word came from her mother, she sought comfort from the girls around her, and especially the bright, angel-voiced Frances. When a tragic accident robbed Judith of her dearest friend, the memories were too traumatic to confront. It was not until years later, on a Kibbutz in Israel, that a friendship with an elderly Holocaust survivor gave Judith the strength to revisit her past - and the orphanage of her broken childhood.
The new edition includes a new foreword that looks at the impact the original edition had on both the lesbian and the mainstream cultures. The authors have added individual afterwords, describing how their lives were changed when their book went mainstream.
