New Books in Women's History

It is a struggle sometimes in biography to find new ways to write about subjects about whom many biographies have been written. This is particularly pronounced in the case of iconic figures of the 20th century (think: Marilyn Monroe, Jacqueline Onassis, Elvis Presley, F. Scott Fitzgerald), and an area in which the partial life biography can play an interesting role. Whereas biographers have more traditionally opted for what we call “cradle-to-grave” narratives, the partial life biography instead offers a slice of a life- a particular period that is explored in-depth. Such is the case with Elizabeth Winder‘s Pain, Parties, Work: Sylvia Plath in New York, Summer 1953(Harper, 2013).Plath’s is a story most everyone knows, and yet her time working in New York as an intern in Mademoiselle has not previously been studied outside of the context of all that came after, which is surprising because it’s an interesting period but also because her experiences then formed the basis for what she would later write in The Bell Jar. The summer is of not just biographical interest, but literary significance as well.There is about Pain, Parties, Work an inevitable sense of clouds brewing- the summer will end, Plath will return home, and she will attempt suicide by taking pills and crawling under her mother’s house- but there’s also a sensation of joy: the joy of young women alone in a big city, experimenting with boys and clothes and make-up and work. Pain, Parties, Work is bolstered by the fact that Winder was able to secure interviews with many of Plath’s fellow interns, voices that have been notably absent in many of the earlier accounts and which lend an immediacy to a well-known story. The interviews with these women do much to flesh out the concrete details of the experience as well as Plath’s unique struggles within it.The Plath we have here is young and eager, fond of make-up and boys, and already displaying a rare gift for words. The clouds are on the horizon, yes- we all know that- but, in the meantime, the city and the thrill of discovery provide an intoxicating distraction. Summer is a time in which anything can happen. Reading Winder’s narrative and meeting Plath in this context, one feels that keenly: the excitement of a girl in the city, the hope and heat of New York, an electricity in the air. Learn more about your ad choices. Visit megaphone.fm/adchoices

The maps drawn up by early settlers to plot their inexorable expansion were not the first representations of North American space. Colonialism does not simply impose a new reality, after all, but attempts to shatter and discard whole systems of understanding. Indigenous maps preceded the colonial encounter and indigenous maps persist is this extended colonial moment.In Mark My Words: Native Women Mapping Our Nations (University of Minnesota Press, 2013), Mishuana Goeman finds in the poetry and prose of Native women authors the maps of both colonialism’s persistence and resistance to its ongoing containments. Goeman shows how writers like E. Pauline Johnson, Joy Harjo, Leslie Marmon Silko, and Heid Erdrich point toward a Native future beyond the settler models of territory, jurisdiction, and race. Learn more about your ad choices. Visit megaphone.fm/adchoices

Why does it seem like everyone in the atheist movement is white and male? Are African-American women less interested in secularism? In her book, Godless Americana: Race and Religious Rebels (Infidel Books, 2013), Dr. Sikivu Hutchinson critiques the mainstream atheist movement’s lack of diversity and uncovers some of the reasons why African-Americans seem so connected to religion. She reveals that racism and social and economic disadvantage has led to a dearth of resources in black communities – a gap that churches often end up filling. Though there is a strong tradition of African-American secular humanism, it has focused on social justice issues and the intersection of racism, classism, capitalism and religion, topics usually ignored by the media and the mainstream secular movement. Dr. Hutchinson also criticizes the new atheism’s singularfocus on science and reason to the detriment of social justice and anti-racist consciousness. Sikivu’s blog can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is a celebrity? And how has the definition of celebrity changed over the course of American history? Those questions are central to Charlene M. Boyer Lewis‘s book Elizabeth Patterson Bonaparte: An American Aristocrat in the Early Republic (University of Pennsylvania Press, 2012). Patterson, a beautiful and brilliant young woman from Baltimore, married Jerome Bonaparte, Napoleon’s brother, when she was only eighteen. They were quickly divorced at the emperor’s insistence, but her story does not end there. As Boyer Lewis shows, this strong-willed and opinionated woman created a cult of celebrity around herself, centered on her self-conscious adoption of aristocratic ways. Her story illuminates the ambivalence about aristocracy, the scope of women’s action, the nature of fame and celebrity, and the complexities of father-daughter relationships in the early American republic. Learn more about your ad choices. Visit megaphone.fm/adchoices

The stories of individual lives are endlessly complex, weaving together the contemporary events, the surrounding culture, and incorporating random factual odds and ends. This is one of the challenges of writing biography- one must become expert on so many things- and also one of the pleasures of reading it: the fact that a biography can reveal something not simply about another person, but also provide an in-depth glimpse into other worlds. Such is the case with Gayle K. Brunelle and Annette Finley-Croswhite‘s Murder in the Metro: Laetitia Toureaux and the Cagoule in 1930s France (Louisiana State University Press, 2013) which, in the course of exploring a grisly unsolved murder, immerses the reader in the 1930s Paris underworld.In 1937, Laetitia Toureaux was discovered in the first class car of ametrotrain with a 9-inch knife stuck in her neck. In Murder in the Metro, Brunelle and Finley-Croswhite untangle Toureaux’s complicated life–she was, at one time, simultaneously spying for the Italian government, the Paris police, and the French terrorist organization the Cagoule–in an effort to give a plausible explanation for how and why she might have died.However, their work extends beyond sleuthing; Murder in the Metrois a gripping story, but it’s also an effort to call scholarly attention to the use of terrorism during France’s Third Republic and, following World War II, the subsequent downplaying–even, at times, obfuscation–of such acts. Brunelle and Finley-Croswhite write that, in 1937, Toureaux’s life and death “offered a perfect tableau for the press to explore and expound upon the issues of gender and, to a lesser extent, class.” Today, she still acts as a tableau of sorts, her history merging with that of the Cagoule to provide a canvas from which scholars–with Brunelle and Finley-Croswhite leading the charge–can explore the nuances of the times in which she lived: a period marked by progress and innovation, but also violence and political unrest, all set against the clouds of a fast-approaching war. Learn more about your ad choices. Visit megaphone.fm/adchoices

Barbara Palmer and Dennis Simon are authors of Women and Congressional Elections: A Century of Change (Lynne Rienner, 2012). Palmer is associate professor of political science at Baldwin Wallace University and Dixon is professor of political science at Southern Methodist University. They have combined to write a deeply informative book about the trajectory of women in congress. The book offers many great anecdotes from the trail blazers: Elizabeth Cady Stanton (the first woman to run for congress), Margaret Chase Smith (the first woman elected to the Senate), and Shirley Chisom (the first African American woman elected to Congress). The authors also put together a new dataset of the universe of women candidates for office. What they find about where women succeed and the challenges they face after winning reveals a lot about what it means for a woman to run for office. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dorothea was a widow who treated Martin Luther, the Duke of Saxony, and throngs of poor peasants with her medicinal waters. Anna was the powerful wife of the Elector of Saxony who favored testing medical remedies on others before using them on her friends and family. Elisabeth was an invalid patient whose preferred treatments included topical remedies and ministrations from the “almighty physician,” but never “the smear.” We meet these three lively women in the pages of Alisha Rankin‘s wonderful new book on the medical practices of noblewomen from the last decades of the sixteenth century. Panaceia’s Daughters: Noblewomen as Healers in Early Modern Germany (University of Chicago Press, 2013) considers the intellectual and social contexts of healing practices in early modern Germany, focusing on elite women who spent much of their adult lives devising and administering medicinal remedies. The book argues that noblewomen were celebrated as healers not despite their gender, but because of it, offering a useful corrective to the historiography of gender and the sciences in early modernity. Rankin situates three in-depth case studies within a careful exploration of some of the main factors that enabled the kind of success that noblewomen-healers like Dorothea of Mansfield and Anna of Saxony enjoyed in sixteenth-century Germany: more opportunities for information exchange through local communities and wider epistolary networks; an increasing focus on empirical knowledge in its many forms; and the foundation role of written medicinal recipes as a form of kunst. It is a thoughtfully written and very clearly argued work that informs many aspects of the history of gender, of science and medicine, and of practical epistemologies. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

Reporter Anne-Marie O’Connor uses the iconic gold portrait of Adele Bloch-Bauer to engage us in the exciting cultural life of fin-de-siecle Vienna, where wealthy Jewish patrons supported the work of ground-breaking artists, lived in grand homes on the famous Ringstrasse, and thought life was good and they were valued as Austrians. With O’Connor’s background in art and her skills of investigative reporting, we come to know the people who turn the art world upside down during the last years of the Empire. Klimt, rock star artist of his era, is in great demand. Her family treasured his portrait of Adele Bloch-Bauer, and the Austrians came to regard it as their Mona Lisa. Adele Bloch-Bauer, as O’Connor explains, was different. This wealthy Jewish woman hosted “Red Saturdays” at home, salons in which she voiced her opinions on the issues of the day, eager to implement reforms to improve workers’ lives. O’Connor characterizes her as “an unfinished woman,” for she died at 43. Wishing to immortalize Klimt, she directed that the portraits and landscapes that she and her husband had in their home be given to the Austrian Gallery. But after Adele died, life changed for Jews in Vienna: in 1938, the Anschluss made Austria part of Nazi Germany. Hitler’s henchmen commandeered Adele’s home and helped themselves to paintings and other works of art. Her family survived, barely. When the war ended, Austria kept the Klimts. When the battle to recover the Klimt portrait resumed in Los Angles in the 1990s, O’Connor interviewed Maria Altmann, niece of Adele Bloch-Bauer, who spearheaded the family’s legal case. Working with Altmann was attorney Randol Schoenberg, grandson of the famed composer and passionate advocate in the battle to recover the painting. Listen to this interview for further details of The Lady in Gold and read the book to learn more.(See the Artsy page on Klimt; it’s terrific.) Learn more about your ad choices. Visit megaphone.fm/adchoices

Beverly Bossler‘s new book will be required reading for anyone interested in women and gender in China’s history. Covering nearly five centuries of transformations, it also offers a fascinating rethinking of the histories of neo-Confucian thought, of commercialization, and of the family in China. Courtesans, Concubines, and the Cult of... Learn more about your ad choices. Visit megaphone.fm/adchoices

The title says it all: Diana Vreeland was, in fact, that Empress of Fashion, reigning over Harper’s Bazaar, Vogue, and the Metropolitan Museum of Art’s Costume Institute for half a century. As a result, her life story stretches the conventions of biography, which so often presents mid-century women’s lives merely as a series of relationships. Amanda MacKenzie Stuart‘s Empress of Fashion: Diana Vreeland, A Life (Thames & Hudson, 2013) provides a stunning alternative: the work narrative.Vreeland’s is the story of an individual who, through sheer will, became the person she wanted to be. Today, we often read biography for inspiration and Vreeland herself searched for such in the lives she encountered and read, as Stuart writes: “At this point Diana wobbled back toward the idea of finding a great person on whom to model herself: ‘then by that I can become great.'” And yet she came up short, writing in her diary, “You know for years I am and always have been looking out for girls to idolize because they are things to look up to because they are perfect. Never have I discovered that girl or that woman. I shall be that girl.”Stuart’s portrait of Vreeland revolves around this notion that she, a woman who was not considered conventionally attractive, excelled in the world of beauty by virtue of this vision- this driving idea of being The Girl and showing readers how they might be their own version of The Girl as well. The element that separates the notion of The Girl from fashion journalism today is that The Girl was- at least in the beginning- attainable, more an attitude supplemented by seasonal accessories and small touches than a look defined by brand names.In the end, as Stuart mentions in our interview, Vreeland’s is a story of great hope: that one doesn’t have to a be a conventional beauty to be fashionable, one doesn’t have to be a man to produce exceptional work, one doesn’t have to conform to the lives and standards of others to be great. Simply by being herself, by being that girl she couldn’t find anywhere else, Vreeland became an icon. As a friend recalled: “She didn’t merely enter a room, she exhilarated it.” Learn more about your ad choices. Visit megaphone.fm/adchoices