In Recollections of My Life as a Woman, Diane di Prima explores the first three decades of her extraordinary life. Born into a conservative Italian American family, di Prima grew up in Brooklyn but broke away from her roots to follow through on a lifelong commitment to become a poet, first made when she was in high school. Immersing herself in Manhattan's early 1950s Bohemia, di Prima quickly emerged as a renowned poet, an influential editor, and a single mother at a time when this was unheard of. Vividly chronicling the intense, creative cauldron of those years, she recounts her revolutionary relationships and sexuality, and how her experimentation led her to define herself as a woman. What emerges is a fascinating narrative about the courage and triumph of the imagination, and how one woman discovered her role in the world.
Born in 1945 in the Assamese town of Jorhat, Temsula Ao, her father's favourite of his six daughters, remembers her childhood as a time of happiness. The sudden loss of both parents mean that the orphaned children were left to fend for themselves as best they could. Desperately poor, emotionally scarred, lonely and often hungry, the young Temsula made up for her lack of resources with courage and determination. From these unpromising beginnings, Ao went on to become one of Northeast India's best known writers and to build a distinguished teaching career, serving as Director of the Northeast Zone Cultural Centre, and finally, Dean of the School of Humanities and Education, North Eastern Hill University, Shillong. Temsula Ao describes her memoir as 'an attempt to exorcise my own personal ghosts from a fractured childhood that was ripped apart by a series of tragedies... [it] is about love and what it is like to be deprived of it.' For her readers, Ao’s memoir gives not only an insight into her role as a leading figure in the Northeast, but is also a moving account of a writerly life. Published by Zubaan.
One of NPR's Best Books of the Year “Straight’s memoir is a lyric social history of her multiracial clan in Riverside that explores the bonds of love and survival that bind them, with a particular emphasis on the women’s stories . . . The aftereffect of all these disparate stories juxtaposed in a single epic is remarkable. Its resonance lingers for days after reading.” —San Francisco Chronicle In the Country of Women is a valuable social history and a personal narrative that reads like a love song to America and indomitable women. In inland Southern California, near the desert and the Mexican border, Susan Straight, a self–proclaimed book nerd, and Dwayne Sims, an African American basketball player, started dating in high school. After college, they married and drove to Amherst, Massachusetts, where Straight met her teacher and mentor, James Baldwin, who encouraged her to write. Once back in Riverside, at driveway barbecues and fish fries with the large, close–knit Sims family, Straight—and eventually her three daughters—heard for decades the stories of Dwayne’s female ancestors. Some women escaped violence in post–slavery Tennessee, some escaped murder in Jim Crow Mississippi, and some fled abusive men. Straight’s mother–in–law, Alberta Sims, is the descendant at the heart of this memoir. Susan’s family, too, reflects the hardship and resilience of women pushing onward—from Switzerland, Canada, and the Colorado Rockies to California. A Pakistani word, biraderi, is one Straight uses to define a complex system of kinship and clan—those who become your family. An entire community helped raise her daughters. Of her three girls, now grown and working in museums and the entertainment industry, Straight writes, “The daughters of our ancestors carry in their blood at least three continents. We are not about borders. We are about love and survival.” “Certain books give off the sense that you won’t want them to end, so splendid the writing, so lyrical the stories. Such is the case with Southern California novelist Susan Straight’s new memoir, In the Country of Women . . . Her vibrant pages are filled with people of churned–together blood culled from scattered immigrants and native peoples, indomitable women and their babies. Yet they never succumb . . . Straight gives us permission to remember what went before with passion and attachment.” ––Los Angeles Times
A triumphant tale of a young woman and her difficult childhood, The Glass Castle is a remarkable memoir of resilience, redemption, and a revelatory look into a family at once deeply dysfunctional and wonderfully vibrant. Jeannette Walls was the second of four children raised by anti-institutional parents in a household of extremes.
"If Kafka had been a feminist, his prisoner might have had Nawal el Sa'adawi's feistiness, maybe, like her, he would have hoed a prison garden, led veiled and unveiled cellmates in rebellious calisthenics, strategized with a murderess to foil state illogic. This book gives me hope, even makes me laugh."—Cynthia Enloe, author of The Morning After
David Plante's dazzling portraits of three influential women in the literary world, now back in print for the first time in decades. Difficult Women presents portraits of three extraordinary, complicated, and, yes, difficult women, while also raising intriguing and, in their own way, difficult questions about the character and motivations of the keenly and often cruelly observant portraitist himself. The book begins with David Plante’s portrait of Jean Rhys in her old age, when the publication of The Wide Sargasso Sea, after years of silence that had made Rhys’s great novels of the 1920s and ’30s as good as unknown, had at last gained genuine recognition for her. Rhys, however, can hardly be said to be enjoying her new fame. A terminal alcoholic, she curses and staggers and rants like King Lear on the heath in the hotel room that she has made her home, while Plante looks impassively on. Sonia Orwell is his second subject, a suave exploiter and hapless victim of her beauty and social prowess, while the unflappable, brilliant, and impossibly opinionated Germaine Greer sails through the final pages, ever ready to set the world, and any erring companion, right.
The women of The Feminist Memoir Project give voice to the spirit, the drive, and the claims of the Women's Liberation Movement they helped shape, beginning in the late 1960s. These thirty-two writers were among the thousands to jump-start feminism in the late twentieth century. Here, in pieces that are passionate, personal, critical, and witty, they describe what it felt like to make history, to live through and contribute to the massive social movement that transformed the nation. What made these particular women rebel? And what experiences, ideas, feelings, and beliefs shaped their activism? How did they maintain the will and energy to keep such a struggle going for so long, and continuing still? Memoirs and responses by Kate Millett, Vivian Gornick, Michele Wallace, Alix Kates Shulman, Joan Nestle, Jo Freeman, Yvonne Rainer, Barbara Smith, Ellen Willis, Eve Ensler, Shirley Geok-lin Lim, Roxanne Dunbar, Naomi Weisstein, Alice Wolfson and many more embody the excitement that fueled the movement and the conflicts that threatened it from within. Their stories trace the ways the world has changed.
Winner of the 2020 Reading the West Advocacy Award Winner of the 2020 Colorado Book Award for Creative Nonfiction "This is a book for all of us, right now." —Cheryl Strayed, author of Wild On her 120-acre homestead high in the Colorado Rockies, beloved writer Pam Houston learns what it means to care for a piece of land and the creatures on it. Elk calves and bluebirds mark the changing seasons, winter temperatures drop to 35 below, and lightning sparks a 110,000-acre wildfire, threatening her century-old barn and all its inhabitants. Through her travels from the Gulf of Mexico to Alaska, she explores what ties her to the earth, the ranch most of all. Alongside her devoted Irish wolfhounds and a spirited troupe of horses, donkeys, and Icelandic sheep, the ranch becomes Houston’s sanctuary, a place where she discovers how the natural world has mothered and healed her after a childhood of horrific parental abuse and neglect. In essays as lucid and invigorating as mountain air, Deep Creek delivers Houston’s most profound meditations yet on how “to live simultaneously inside the wonder and the grief… to love the damaged world and do what I can to help it thrive.”
The long-awaited memoir by “one of the few original American writers of the last century” is a testament to the power of self-acceptance (Gore Vidal). John Rechy, author of City of Night and The Sexual Outlaw, has always known discrimination. Raised Mexican-American in El Paso, Texas, at a time when Latino children were routinely segregated, Rechy was often assumed to be Anglo because of his light skin, and had his name “changed” for him by a teacher, from Juan to John. As he grew older—and as his fascination with the memory of a notorious kept woman in his childhood deepened—Rechy became aware that his differences lay not just in his heritage, but in his sexuality. While he performed the roles expected of him by others—the authoritarians in the US Army during the Korean War, the bigoted relatives of his Anglo college classmates, or the men and women who wanted him to be something he was not—he never allowed them to define him. The “riveting” story of a life that bears witness to some of the most riotous changes of the past century, About My Life and the Kept Woman is as much a portrait of intolerance as of an individual who defied it to forge his own path (The Advocate). “Rechy might be called the first bard of West Hollywood.” —The New York Times “A skillfully paced story . . . As a memoirist, Rechy is both participant and observer, and he segues as easily between narrative and exegesis as his younger self did between the lure of the wild streets and the embrace of his traditional family.” —Los Angeles Magazine
It is time. It is time to free our voice. To speak is a revolution. For too long, through the most intimate acts of erasure, women have been silenced. Now, women everywhere are breaking through the limits placed on us by family, society, and tradition. To find our voices. To make space for ourselves in this world. Now is the moment to reclaim what was once lost, stolen, forsaken, or abandoned. I Am Yours is about my fight to protect and free my voice from those who have sought to silence me, for the sake of creating a world where all voices are welcome and respected. Because the voice, without intimacy, will atrophy. We're in this together. You are mine, and I am yours.
