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Constructions of Depression in the Twentieth Century
In American Melancholy, Laura D. Hirshbein traces the growth of depression as an object of medical study and as a consumer commodity and illustrates how and why depression came to be such a huge medical, social, and cultural phenomenon. This is the first book to address gender issues in the construction of depression, explores key questions of how its diagnosis was developed, how it has been used, and how we should question its application in American society.
More Than a Prayer
Examining the intellectual output of female American Muslim writers and scholars since 1990, Hammer demonstrates that the themes at the heart of women’s writings are central to the debates of modern Islam worldwide.
A Reader, 1894-1930
In North America between 1894 and 1930, the rise of the "New Woman" sparked controversy on both sides of the Atlantic and around the world. As she demanded a public voice as well as private fulfillment through work, education, and politics, American journalists debated and defined her. Who was she and where did she come from? Was she to be celebrated as the agent of progress or reviled as a traitor to the traditional family? Over time, the dominant version of the American New Woman became typified as white, educated, and middle class: the suffragist, progressive reformer, and bloomer-wearing bicyclist. By the 1920s, the jazz-dancing flapper epitomized her. Yet she also had many other faces. Bringing together a diverse range of essays from the periodical press of the late nineteenth and early twentieth centuries, Martha H. Patterson shows how the New Woman differed according to region, class, politics, race, ethnicity, and historical circumstance. In addition to the New Woman's prevailing incarnations, she appears here as a gun-wielding heroine, imperialist symbol, assimilationist icon, entrepreneur, socialist, anarchist, thief, vamp, and eugenicist. Together, these readings redefine our understanding of the New Woman and her cultural impact.
Visions of Race, Death, and the Maternal
The Literary-Political Work of Charlotte Perkins Gilman, Upton Sinclair, and W. E. B. Du Bois
"A meticulously researched, highly informed, carefully argued, and very accessible account of American socialism, socialists, and socialistic thinking, from the late nineteenth century through the 1960s . . . challenges the intellectual and political legacy of Werner Sombart's Why Is There No Socialism in the United States?, whose spirit still hovers over animated discussions about the 'failures' of socialism in the United States." ---James A. Miller, George Washington University "A valuable rethinking and reframing of the traditions of leftist literary scholarship in the U.S." ---Sylvia Cook, University of Missouri, St. Louis American Socialist Triptych: The Literary-Political Work of Charlotte Perkins Gilman, Upton Sinclair, and W. E. B. Du Bois explores the contributions of three writers to the development of American socialism over a fifty--year period and asserts the vitality of socialism in modern American literature and culture. Drawing upon a wide range of texts including archival sources, Mark W. Van Wienen demonstrates the influence of reform-oriented, democratic socialism both in the careers of these writers and in U.S. politics between 1890 and 1940. While offering unprecedented in-depth analysis of modern American socialist literature, this book charts the path by which the supposedly impossible, dangerous ideals of a cooperative commonwealth were realized, in part, by the New Deal. American Socialist Triptych provides in-depth, innovative readings of the featured writers and their engagement with socialist thought and action. Upton Sinclair represents the movement's most visible manifestation, the Socialist Party of America, founded in 1901; Charlotte Perkins Gilman reflects the socialist elements in both feminism and 1890s reform movements, and W. E. B. Du Bois illuminates social democratic aspirations within the NAACP. Van Wienen's book seeks to re-energize studies of Sinclair by treating him as a serious cultural figure whose career peaked not in the early success of The Jungle but in his nearly successful 1934 run for the California governorship. It also demonstrates as never before the centrality of socialism throughout Gilman's and Du Bois's literary and political careers. More broadly, American Socialist Triptych challenges previous scholarship on American radical literature, which has focused almost exclusively on the 1930s and Communist writers. Van Wienen argues that radical democracy was not the phenomenon of a decade or of a single group but a sustained tradition dispersed within the culture, providing a useful genealogical explanation for how socialist ideas were actually implemented through the New Deal. American Socialist Triptych also revises modern American literary history, arguing for the endurance of realist and utopian literary modes at the height of modernist literary experimentation and showing the importance of socialism not only to the three featured writers but also to their peers, including Edward Bellamy, Hamlin Garland, Jack London, Edna St. Vincent Millay, and Claude McKay. Further, by demonstrating the importance of social democratic thought to feminist and African American campaigns for equality, the book dialogues with recent theories of radical egalitarianism. Readers interested in American literature, U.S. history, political theory, and race, gender, and class studies will all find in American Socialist Triptych a valuable and provocative resource.
They Also Served
In this American Book Award-winning autobiography, Shirley Geok-lin Lim recalls her girlhood as part of a Chinese family in war-torn Malaysia, and her later life in the United States, where she moves from alienation as a dislocated Asian woman to a new sense of identity as an Asian-American woman. Lim's memoir explores colonialism, Chinese/Malaysian relations, and race relations in the US, as well as the intricacies of the academic life.
Poor White Women in Southern Literature of the Great Depression
In The Angelic Mother and the Predatory Seductress, Ashley Craig Lancaster examines how converging political and cultural movements helped to create dualistic images of southern poor white female characters in Depression-era literature. While other studies address the familial and labor issues that challenged female literary characters during the 1930s, Lancaster focuses on how the evolving eugenics movement reinforced the dichotomy of altruistic maternal figures and destructive sexual deviants. According to Lancaster, these binary stereotypes became a new analogy for hope and despair in America’s future and were well utilized by Depression-era politicians and authors to stabilize the country’s economic decline. As a result, the complexity of women’s lives was often overlooked in favor of stock characters incapable of individuality. Lancaster studies a variety of works, including those by male authors William Faulkner, Erskine Caldwell, and John Steinbeck, as well as female novelists Mary Heaton Vorse, Myra Page, Grace Lumpkin, and Olive Tilford Dargan. She identifies female stereotypes in classics such as To Kill a Mockingbird and in the work of later writers Dorothy Allison and Rick Bragg, who embrace and share in a poor white background. The Angelic Mother and the Predatory Seductress reveals that these literary stereotypes continue to influence not only society’s perception of poor white southern women but also women’s perception of themselves.
" Anna Held (1870?-1918), a petite woman with an hourglass figure, was America's most popular musical comedy star during the two decades preceding World War I. In the colorful world of New York theater during La Belle �poque, she epitomized everything that was glamorous, sophisticated, and suggestive about turn-of-the-century Broadway. Overcoming an impoverished life as an orphan to become a music-hall star in Paris, Held rocketed to fame in America. From 1896 to 1910, she starred in hit after hit and quickly replaced Lillian Russell as the darling of the theatrical world. The first wife of legendary producer Florenz Ziegfeld Jr., Held was the brains and inspiration behind his Follies and shared his knack for publicity. Together, they brought the Paris scene to New York, complete with lavish costumes and sets and a chorus of stunningly beautiful women, dubbed ""The Anna Held Girls."" While Held was known for a champagne giggle as well as for her million-dollar bank account, there was a darker side to her life. She concealed her Jewish background and her daughter from a previous marriage. She suffered through her two husbands' gambling problems and Ziegfeld's blatant affairs with showgirls. With the outbreak of fighting in Europe, Held returned to France to support the war effort. She entertained troops and delivered medical supplies, and she was once briefly captured by the German army. Anna Held and the Birth of Ziegfeld's Broadway reveals one of the most remarkable women in the history of theatrical entertainment. With access to previously unseen family records and photographs, Eve Golden has uncovered the details of an extraordinary woman in the vibrant world of 1900s New York.