America has an array of women writers who have made history--and many of them lived, died and were buried in Virginia.(/b> Gothic novelists, writers of Westerns and African American poets, these writers include a Pulitzer Prize winner, the first woman writer to be named Poet Laureate of the Commonwealth of Virginia and the first woman to top the best-seller lists in the twentieth century. Mary Roberts Rinehart was a bestselling mystery author often called "the American Agatha Christie." Anne Spencer was an important figure in the Harlem Renaissance. V. C. Andrews was so popular that when she died a court ruled that her name was taxable, and the poetry of Susan Archer Talley Weiss received praise from Edgar Allan Poe. Professor and cemetery history enthusiast Sharon Pajka has written a guide to their accomplishments in life and to their final resting places.
Virginia Woolf's playful exploration of a satirical »Oxbridge« became one of the world's most groundbreaking writings on women, writing, fiction, and gender. A Room of One's Own [1929] can be read as one or as six different essays, narrated from an intimate first-person perspective. Actual history blends with narrative and memoir. But perhaps most revolutionary was its address: the book is written by a woman for women. Male readers are compelled to read through women's eyes in a total inversion of the traditional male gaze. VIRGINIA WOOLF [1882–1941] was an English author. With novels like Jacob’s Room [1922], Mrs Dalloway [1925], To the Lighthouse [1927], and Orlando [1928], she became a leading figure of modernism and is considered one of the most important English-language authors of the 20th century. As a thinker, with essays like A Room of One’s Own [1929], Woolf has influenced the women’s movement in many countries.
"Virginia Scharff's wonderfully readable account of women in motion complicates and enriches our understanding of the nineteenth and twentieth century Wests. Her gendered remapping of the regional landscape explodes traditional notions of western movement. All students of women and gender, travel and place, the West and America, would do well to read this excellent book."—David M. Wrobel, author of Promised Lands: Promotion, Memory, and the Creation of the American West "Virginia Scharff claims for women what has long been central to the masculine mythology of the West—free movement and its many gifts, real and imagined. Her book is as exhilarating and as intellectually and emotionally expansive as our enduring dream of flight across the American land."—Elliott West, author of The Contested Plains: Indians, Goldseekers, & the Rush to Colorado "Brilliant is not a word that is often a part of my critical vocabulary, but brilliantly is how Twenty Thousand Roads begins. When writing of Sacagawea and Susan Magoffin, Virginia Scharff shows vividly how a single life can be a source of sophisticated cultural analysis without becoming an academic artifact or an object of condescension."—Richard White, author of It's Your Misfortune and None of My Own: A New History of the American West
An insightful, witty look at Virginia Woolf through the lens of the extraordinary women closest to her. How did Adeline Virginia Stephen become the great writer Virginia Woolf? Acclaimed biographer Gillian Gill tells the stories of the women whose legacies--of strength, style, and creativity--shaped Woolf's path to the radical writing that inspires so many today. Gill casts back to Woolf's French-Anglo-Indian maternal great-grandmother Thérèse de L'Etang, an outsider to English culture whose beauty passed powerfully down the female line; and to Woolf's aunt Anne Thackeray Ritchie, who gave Woolf her first vision of a successful female writer. Yet it was the women in her own family circle who had the most complex and lasting effect on Woolf. Her mother, Julia, and sistersStella, Laura, and Vanessa were all, like Woolf herself, but in markedly different ways, warped by the male-dominated household they lived in. Finally, Gill shifts the lens onto the famous Bloomsbury group. This, Gill convinces, is where Woolf called upon the legacy of the women who shaped her to transform a group of men--united in their love for one another and their disregard for women--into a society in which Woolf ultimately found her freedom and her voice.
“A comprehensive and unsurpassed anthology of women writers from Appalachia . . . Exceptional in diversity and scope.” —Southern Historian Listen Here: Women Writing in Appalachia is a landmark anthology that brings together the work of 105 Appalachian women writers, including Dorothy Allison, Harriette Simpson Arnow, Annie Dillard, Nikki Giovanni, Denise Giardina, Barbara Kingsolver, Jayne Anne Phillips, Janice Holt Giles, George Ella Lyon, Sharyn McCrumb, and Lee Smith. Editors Sandra L. Ballard and Patricia L. Hudson offer a diverse sampling of time periods and genres, established authors and emerging voices. From regional favorites to national bestsellers, this unprecedented gathering of Appalachian voices displays the remarkable talent of the region’s women writers who’ve made their mark at home and across the globe. “A giant step forward in Appalachian studies for both students and scholars of the region and the general reader . . . Nothing less than a groundbreaking and landmark addition to the national treasury of American literature.” —Bloomsbury Review “A remarkable accomplishment, bringing together the work of 105 female Appalachian writers saying what they want to, and saying it in impressive bodies of literature.” —Lexington Herald-Leader “One of the keenest pleasures in Listen Here lies in its diversity of voices and genres.” —Material Culture “Besides introducing readers to many new voices, the anthology provides a strong counterpart to the stereotype of hillbillies that have cursed the region.” —Atlanta Journal-Constitution “Full of welcome surprises to those new to this regional literature: specifically, it includes particularly strong selections from children’s fiction and a substantial number of African American writers.” —Choice
Called "a feminist classic" by Judith Shulevitz in the New York Times Book Review, this pathbreaking book of literary criticism is now reissued with a new introduction by Lisa Appignanesi that speaks to how The Madwoman in the Attic set the groundwork for subsequent generations of scholars writing about women writers, and why the book still feels fresh some four decades later. "Gilbert and Gubar have written a pivotal book, one of those after which we will never think the same again."--Carolyn G. Heilbrun, Washington Post Book World
A wise, lyrical memoir about the power of literature to help us read our own lives—and see clearly the people we love most. “Transcendent.”—The Washington Post • “You’d be hard put to find a more moving appreciation of Woolf’s work.”—The Wall Street Journal NAMED ONE OF THE BEST BOOKS OF THE YEAR BY TOWN & COUNTRY Katharine Smyth was a student at Oxford when she first read Virginia Woolf’s modernist masterpiece To the Lighthouse in the comfort of an English sitting room, and in the companionable silence she shared with her father. After his death—a calamity that claimed her favorite person—she returned to that beloved novel as a way of wrestling with his memory and understanding her own grief. Smyth’s story moves between the New England of her childhood and Woolf’s Cornish shores and Bloomsbury squares, exploring universal questions about family, loss, and homecoming. Through her inventive, highly personal reading of To the Lighthouse, and her artful adaptation of its groundbreaking structure, Smyth guides us toward a new vision of Woolf’s most demanding and rewarding novel—and crafts an elegant reminder of literature’s ability to clarify and console. Braiding memoir, literary criticism, and biography, All the Lives We Ever Lived is a wholly original debut: a love letter from a daughter to her father, and from a reader to her most cherished author. Praise for All the Lives We Ever Lived “This searching memoir pays homage to To the Lighthouse, while recounting the author’s fraught relationship with her beloved father, a vibrant figure afflicted with alcoholism and cancer. . . . Smyth’s writing is evocative and incisive.”—The New Yorker “Like H Is for Hawk, Smyth’s book is a memoir that’s not quite a memoir, using Woolf, and her obsession with Woolf, as a springboard to tell the story of her father’s vivid life and sad demise due to alcoholism and cancer. . . . An experiment in twenty-first century introspection that feels rooted in a modernist tradition and bracingly fresh.”—Vogue “Deeply moving – part memoir, part literary criticism, part outpouring of longing and grief… This is a beautiful book about the wildness of mortal life, and the tenuous consolations of art.”—The Times Literary Supplement “Blending analysis of a deeply literary novel with a personal story... gently entwining observations from Woolf's classic with her own layered experience. Smyth tells us of her love for her father, his profound alcoholism and the unpredictable course of the cancer that ultimately claimed his life.”—Time
Willa Cather's close friend and travelling campanion presents a portrait of the well-known author, describing her personality, appearance, relationships, and response to life's hardships and triumphs.
When Prince Oroonoko’s passion for the virtuous Imoinda arouses the jealousy of his grandfather, the lovers are cast into slavery and transported from Africa to the colony of Surinam. Oroonoko’s noble bearing soon wins the respect of his English captors, but his struggle for freedom brings about his destruction. Inspired by Aphra Behn’s visit to Surinam, Oroonoko (1688) reflects the author’s romantic view of Native Americans as simple, superior peoples ‘in the first state of innocence, before men knew how to sin’. The novel also reveals Behn’s ambiguous attitude to African slavery – while she favoured it as a means to strengthen England’s power, her powerful and moving work conveys its injustice and brutality.
