Feed your boss’s ego. Dress for success. And don’t let your heels trip you up on the corporate ladder. Millions of women have held the position of secretary, alternately lauded as a breakthrough opportunity and excoriated as dead-end busy work. From the female pioneers who infiltrated Capitol Hill offices during the Civil War to today’s tech-savvy administrative assistants, secretaries have withstood criticism for abandoning their rightful sphere (the home), weathered the dubious advice of secretarial guide-books, taken hits from feminists and antifeminists alike, and demanded the right to resist making coffee—all while making their bosses look good. In Swimming in the Steno Pool, author-secretary Lynn Peril profiles the various incarnations of the secretary, from pliable, sexy mate of the "office husband" to postfeminist executive-in-training, drawing inspiration from a wide range of "femorabilia" and secretarial guidebooks of yesteryear. Featuring an array of fabulous illustrations promoting office equipment and office girls alike, Peril delivers a feisty, witty celebration of the women who’ve been running the show for decades.
Feed your boss’s ego. Dress for success. And don’t let your heels trip you up on the corporate ladder. Millions of women have held the position of secretary, alternately lauded as a breakthrough opportunity and excoriated as dead-end busy work. From the female pioneers who infiltrated Capitol Hill offices during the Civil War to today’s tech-savvy administrative assistants, secretaries have withstood criticism for abandoning their rightful sphere (the home), weathered the dubious advice of secretarial guide-books, taken hits from feminists and antifeminists alike, and demanded the right to resist making coffee—all while making their bosses look good. In Swimming in the Steno Pool, author-secretary Lynn Peril profiles the various incarnations of the secretary, from pliable, sexy mate of the "office husband" to postfeminist executive-in-training, drawing inspiration from a wide range of "femorabilia" and secretarial guidebooks of yesteryear. Featuring an array of fabulous illustrations promoting office equipment and office girls alike, Peril delivers a feisty, witty celebration of the women who’ve been running the show for decades.
You mean this place we go to five days a week has a history? Cubed reveals the unexplored yet surprising story of the places where most of the world's work—our work—gets done. From "Bartleby the Scrivener" to The Office, from the steno pool to the open-plan cubicle farm, Cubed is a fascinating, often funny, and sometimes disturbing anatomy of the white-collar world and how it came to be the way it is—and what it might become. In the mid-nineteenth century clerks worked in small, dank spaces called “counting-houses.” These were all-male enclaves, where work was just paperwork. Most Americans considered clerks to be questionable dandies, who didn’t do “real work.” But the joke was on them: as the great historical shifts from agricultural to industrial economies took place, and then from industrial to information economies, the organization of the workplace evolved along with them—and the clerks took over. Offices became rationalized, designed for both greater efficiency in the accomplishments of clerical work and the enhancement of worker productivity. Women entered the office by the millions, and revolutionized the social world from within. Skyscrapers filled with office space came to tower over cities everywhere. Cubed opens our eyes to what is a truly "secret history" of changes so obvious and ubiquitous that we've hardly noticed them. From the wood-paneled executive suite to the advent of the cubicles where 60% of Americans now work (and 93% of them dislike it) to a not-too-distant future where we might work anywhere at any time (and perhaps all the time), Cubed excavates from popular books, movies, comic strips (Dilbert!), and a vast amount of management literature and business history, the reasons why our workplaces are the way they are—and how they might be better.
Too often, depictions of women's rise in corporate America leave out the first generation of breakthrough women entrepreneurs. Here, Edith Sparks restores the careers of three pioneering businesswomen--Tillie Lewis (founder of Flotill Products), Olive Ann Beech (cofounder of Beech Aircraft), and Margaret Rudkin (founder of Pepperidge Farm)--who started their own manufacturing companies in the 1930s, sold them to major corporations in the 1960s and 1970s, and became members of their corporate boards. These leaders began their ascent to the highest echelons of the business world before women had widespread access to higher education and before there were federal programs to incentivize women entrepreneurs or laws to prohibit credit discrimination. In telling their stories, Sparks demonstrates how these women at once rejected cultural prescriptions and manipulated them to their advantage, leveraged familial connections, and seized government opportunities, all while advocating for themselves in business environments that were not designed for women, let alone for women leaders. By contextualizing the careers of these hugely successful yet largely forgotten entrepreneurs, Sparks adds a vital dimension to the history of twentieth-century corporate America and provides a powerful lesson on what it took for women to succeed in this male-dominated business world.
The book Lady Astronauts, Lady Engineers, and Naked Ladies is a gender history of the American space community and by extension a social history of American society in the twentieth century during the Cold War. In order to expand and differentiate the prevalent postwar narrative about gender relations and cultural structures in the United States, the book analyzes several different groups of women interacting in different social spaces within the space community. It therewith grants insight into the several layers of female participation and agency in the community and the gender and race based obstacles and hurdles the female (prospective) astronauts, scientists, engineers, artists, administrators, writers, hostesses, secretaries, and wives were faced with at NASA and in the space industry. In each chapter a different social space within the space community is analyzed. The spaces where the women lived and worked are researched from a media, individual, and institutional angle, ultimately revealing the differing gender philosophies communicated in the public sphere and the space community workplaces by government and space community officials. While women were publicly encouraged to participate in the American space effort to beat the Soviet Union in the race to the moon, women had to deal with gender based barriers which were integral to the structures of the space community; just as they were an intrinsic component of all societal structures in the United States in the 1960s. The female space workers, who were often perceived as disrupters of the prevalent social order in the space community and discriminated by some of their male colleagues and bosses on a personal basis, still managed to assert themselves. They molded pockets of agency in the space community workspaces without the facilitation of regulations on the part of NASA that might have provided them with easier access or more agency. Thus, the space community, a place of technological innovation, was not necessarily also a place of social innovation, but a community with a government agency at its center that mainly mirrored the current (changing) social order, conventions, and policies in the 1960s as well as in the 1970s and 1980s. Nevertheless, the women presented in this book were instrumental in advancing and consolidating the social transformation that happened within the space community and the United States and therefore make intriguing subjects of research. Thus, this systematic analysis of the connection between gender, space, and the Cold War adds a new dimension to space history as well as expands the discourse in American history about gender relations and the opportunities of women in the twentieth century.
The Sixties, Center Stage offers rich insights into the innovative and provocative political underpinnings of mainstream and popular performances in the 1960s. While much critical attention has been focused on experimental and radical theater of the period, the essays confirm that mainstream performances not only merit more scholarly attention than they have received, but through serious examination provide an important key to understanding the 1960s as a period. The introduction provides a broad overview of the social, political, and cultural contexts of artistic practices in mainstream theater from the mid-fifties to mid-seventies. Readers will find detailed examinations of the mainstream’s surprising attention to craft and innovation; to the rich exchange between European and American theatres; to the rise of regional theaters; and finally, to popular cultural performances that pushed the conceptual boundaries of mainstream institutions. The book looks afresh at productions of Hair, Cabaret, Raisin in the Sun, and Fiddler on the Roof, as well as German theater, and performances outside the Democratic National Convention of 1968.
Histories of women in Hollywood usually recount the contributions of female directors, screenwriters, designers, actresses, and other creative personnel whose names loom large in the credits. Yet, from its inception, the American film industry relied on the labor of thousands more women, workers whose vital contributions often went unrecognized. Never Done introduces generations of women who worked behind the scenes in the film industry—from the employees’ wives who hand-colored the Edison Company’s films frame-by-frame, to the female immigrants who toiled in MGM’s backrooms to produce beautifully beaded and embroidered costumes. Challenging the dismissive characterization of these women as merely menial workers, media historian Erin Hill shows how their labor was essential to the industry and required considerable technical and interpersonal skills. Sketching a history of how Hollywood came to define certain occupations as lower-paid “women’s work,” or “feminized labor,” Hill also reveals how enterprising women eventually gained a foothold in more prestigious divisions like casting and publicity. Poring through rare archives and integrating the firsthand accounts of women employed in the film industry, the book gives a voice to women whose work was indispensable yet largely invisible. As it traces this long history of women in Hollywood, Never Done reveals the persistence of sexist assumptions that, even today, leave women in the media industry underpraised and underpaid. For more information: http://erinhill.squarespace.com
A rich account that combines media-industry history and cultural studies, Their Own Best Creations looks at women writers' contributions to some of the most popular genres of postwar TV: comedy-variety, family sitcom, daytime soap, and suspense anthology. During the 1950s, when the commercial medium of television was still being defined, women writers navigated pressures at work, constructed public personas that reconciled traditional and progressive femininity, and asserted that a woman's point of view was essential to television as an art form. The shows they authored allegorize these professional and personal pressures and articulate a nascent second-wave feminist consciousness. Annie Berke brings to light the long-forgotten and under-studied stories of these women writers and crucially places them in the historical and contemporary record.
From the flapper to The Feminine Mystique, a cultural history of single women in the city through the reclaimed life of glamorous guru Marjorie Hillis. You’ve met the extra woman: she’s sophisticated, she lives comfortably alone, she pursues her passions unabashedly, and—contrary to society’s suspicions—she really is happy. Despite multiple waves of feminist revolution, today’s single woman is still mired in judgment or, worse, pity. But for a brief, exclamatory period in the late 1930s, she was all the rage. A delicious cocktail of cultural history and literary biography, The Extra Woman transports us to the turbulent and transformative years between suffrage and the sixties, when, thanks to the glamorous grit of one Marjorie Hillis, single women boldly claimed and enjoyed their independence. Marjorie Hillis, pragmatic daughter of a Brooklyn preacher, was poised for reinvention when she moved to the big city to start a life of her own. Gone were the days of the flirty flapper; ladies of Depression-era New York embraced a new icon: the independent working woman. Hillis was already a success at Vogue when she published a radical self-help book in 1936: Live Alone and Like It: A Guide for the Extra Woman. With Dorothy Parker–esque wit, she urged spinsters, divorcées, and “old maids” to shed derogatory labels and take control of their lives, and her philosophy became a phenomenon. From the importance of a peignoir to the joy of breakfast in bed (alone), Hillis’s tips made single life desirable and chic. In a style as irresistible as Hillis’s own, Joanna Scutts, a leading cultural critic, explores the revolutionary years following the Live-Alone movement, when the status of these “brazen ladies” peaked and then collapsed. Other innovative lifestyle gurus set similar trends that celebrated guiltless female independence and pleasure: Dorothy Draper’s interior design smash, Decorating Is Fun! transformed apartments; Irma Rombauer’s warm and welcoming recipe book, The Joy of Cooking, reassured the nervous home chef that she, too, was capable of decadent culinary feats. By painting the wider picture, Scutts reveals just how influential Hillis’s career was, spanning decades and numerous best sellers. As she refashioned her message with every life experience, Hillis proved that guts, grace, and perseverance would always be in vogue. With this vibrant examination of a remarkable life and profound feminist philosophy, Joanna Scutts at last reclaims Marjorie Hillis as the original queen of a maligned sisterhood. Channeling Hillis’s charm, The Extra Woman is both a brilliant exposé of women who forged their independent paths before the domestic backlash of the 1950s trapped them behind picket fences, and an illuminating excursion into the joys of fashion, mixology, decorating, and other manifestations of shameless self-love.
This major addition to the history of the Civil War is a “fast-paced, fact-rich account” (The Wall Street Journal) offering a detailed look at President Abraham Lincoln’s use of clandestine services and the secret battles waged by Union spies and agents to save the nation—filled with espionage, sabotage, and intrigue. Veteran CIA correspondent Douglas Waller delivers a riveting account of the heroes and misfits who carried out a shadow war of espionage and covert operations behind the Confederate battlefields. Lincoln’s Spies follows four agents from the North—three men and one woman—who informed Lincoln’s generals on the enemy positions for crucial battles and busted up clandestine Rebel networks. Famed detective Allan Pinkerton mounted a successful covert operation to slip Lincoln through Baltimore before his inauguration after he learns of an assassination attempt from his agents working undercover as Confederate soldiers. But he proved less than competent as General George McClellan’s spymaster, delivering faulty intelligence reports that overestimated Confederate strength. George Sharpe, an erudite New York lawyer, succeeded Pinkerton as spymaster for the Union’s Army of the Potomac. Sharpe deployed secret agents throughout the South, planted misinformation with Robert E. Lee’s army, and outpaced anything the enemy could field. Elizabeth Van Lew, a Virginia heiress who hated slavery and disapproved of secession, was one of Sharpe’s most successful agents. She ran a Union spy ring in Richmond out of her mansion with dozens of agents feeding her military and political secrets that she funneled to General Ulysses S. Grant as his army closed in on the Confederate capital. Van Lew became one of the unsung heroes of history. Lafayette Baker was a handsome Union officer with a controversial past, whose agents clashed with Pinkerton’s operatives. He assembled a retinue of disreputable spies, thieves, and prostitutes to root out traitors in Washington, DC. But he failed at his most important mission: uncovering the threat to Lincoln from John Wilkes Booth and his gang. Behind these operatives was Abraham Lincoln, one of our greatest presidents, who was an avid consumer of intelligence and a ruthless aficionado of clandestine warfare, willing to take whatever chances necessary to win the war. Lincoln’s Spies is a “meticulous chronicle of all facets of Lincoln’s war effort” (Kirkus Reviews) and an excellent choice for those wanting “a cracking good tale” (Publishers Weekly) of espionage in the Civil War.
