Now, taking inspiration from a masterpiece of female beauty, mystery, and immortality, Leonardo Da Vinci's Mona Lisa, Harriet Rubin reveals a powerful stratagem for finding happiness and fulfillment in midlife and beyond. Around the time a woman reaches 45, there is one enemy with the power to threaten her confidence, steal her beauty, make her feel invisible, and turn even the pleasures of life against her. That enemy is Time. Most women feel that an essential part of them dies when their youth is gone, yet the reality is women can grow more beautiful, experience new pleasures, and accomplish their best work later in life. Interweaving stories of iconic women throughout history, Rubin codifies ten tactics--including how to be noticed, how to create circles of influence with you at the center, and how to express talents that have been ripening over decades. In the process, she uncovers the key to mature power, the highest art of leadership.
An absorbing chronicle of a much overlooked chapter in Jacqueline Kennedy Onassis's life—her nineteen-year editorial career History remembers Jacqueline Kennedy Onassis as the consummate first lady, the nation's tragic widow, the millionaire's wife, and, of course, the quintessential embodiment of elegance. Her biographers, however, skip over an equally important stage in her life: her nearly twenty year long career as a book editor. Jackie as Editor is the first book to focus exclusively on this remarkable woman's editorial career. At the age of forty-six, one of the most famous women in the world went to work for the first time in twenty-two years. Greg Lawrence, who had three of his books edited by Jackie, draws from interviews with more than 125 of her former collaborators and acquaintances in the publishing world to examine one of the twentieth century's most enduring subjects of fascination through a new angle: her previously untouted skill in the career she chose. Over the last third of her life, Jackie would master a new industry, weather a very public professional scandal, and shepherd more than a hundred books through the increasingly corporate halls of Viking and Doubleday, publishing authors as diverse as Diana Vreeland, Louis Auchincloss, George Plimpton, Bill Moyers, Dorothy West, Naguib Mahfouz, and even Michael Jackson. Jackie as Editor gives intimate new insights into the life of a complex and enigmatic woman who found fulfillment through her creative career during book publishing's legendary Golden Age, and, away from the public eye, quietly defined life on her own terms.
Although midlife has been traditionally viewed as a time of decline, science and experience are demonstrating that most of our fears are unsupported. For many women it can be a time to rediscover important aspects of themselves that have been left due to the responsibilities of motherhood and careers. In Stable Wisdom, lifelong horsewoman Shirley Potterton provides a one-of-a-kind guide for women on a midlife journey that encourages transformation and positive changes with the help of an equine companion. Potterton, whose love for horses was rekindled at midlife, relies on experiences from her own journey of self-discovery as well as others' to share powerful tools and exercises to help women embrace the wisdom of an intuitive creature in order to move forward, develop new skills, and utilize innate strengths. Through a step-by-step plan that can be applied with or without a horse, women can learn how to - listen to the inner voice for direction; - create and renew energy levels; - develop a courageous approach to life; - bring insight, wisdom, and experience to leadership roles; and - initiate self-reflection without judgment. Stable Wisdom provides valuable guidance, tools, and confidence for any woman in midlife who dares to think big and is ready to discover her own unique wisdom and implement exciting life changes.
The Cambridge Companion to Eighteenth-Century Poetry analyzes major premises, preoccupations, and practices of English poets writing from 1700 to the 1790s. These specially-commissioned essays avoid familiar categories and single-author approaches to look at the century afresh. Chapters consider such large poetic themes as nature, the city, political passions, the relation of death to desire and dreams, appeals to an imagined future, and the meanings of 'sensibility'. Other chapters explore historical developments such as the connection between poetic couplets and conversation, the conditions of publication, changing theories of poetry and imagination, growing numbers of women poets and readers, the rise of a self-consciously national tradition, and the place of lyric poetry in thought and practice. The essays are well supported by supplementary material including a chronology of the period and detailed guides to further reading. Altogether the volume provides an invaluable resource for scholars and students.
Essays discuss whether minority candidates, including women, African Americans, Mormons, and Hispanics, have a fair chance of becoming president of the United States.
This work argues that women should settle for nothing less than greatness. It outlines the strategy women should adopt in order to achieve successful relationships with bosses, clients, lovers and parents. The book also discusses how to become powerful without becoming a man.
One of The Christian Science Monitor's Ten Best Books of May "A highly original work of history . . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two.” —Roger Lowenstein, The Wall Street Journal A captivatingstudy of Napoleon’s plundering of Europe’s art for the Louvre, told through the story of a Renaissance masterpiece seized from Venice Cynthia Saltzman’s Plunder recounts the fate of Paolo Veronese’s Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers’ space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings. As Saltzman tells the larger story of Napoleon’s looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness—to carry forward the finest aspects of civilization—and his ruthlessness in getting whatever he sought. After Napoleon’s 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre’s plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa. Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.
