New Books in Women's History

Does it ever feel like you have no free time? You come home after work and instead of finding a space of rest and relaxation, you're confronted by a pile of new tasks to complete – cooking, cleaning, looking after the kids, and so on.In After Work: A History of the Home and the Fight for Free Time (Verso, 2023), Dr. Helen Hester and Dr. Nick Srnicek lay out how unpaid work in our homes has come to take up an ever-increasing portion of our lives – how the vacuum of free time has been taken up by vacuuming. Examining the history of the home over the past century – from running water to white goods to smart homes – they show how repeated efforts to reduce the burden of this work have faced a variety of barriers, challenges, and reversals.Charting the trajectory of our domestic spaces over the past century, Dr. Hester and Dr. Srnicek consider new possibilities for the future, uncovering the abandoned ideas of anti-housework visionaries and sketching out a path towards real free time for all, where everyone is at liberty to pursue their passions, or do nothing at all. It will require rethinking our living arrangements, our expectations and our cities.This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

On September 1, 1967, one of the Third Reich's most infamous figures hanged herself in her cell after nearly twenty-four years in prison. Known as the "Bitch of Buchenwald," Ilse Koch was singularly notorious, having been accused of owning lampshades fabricated from skins of murdered camp inmates and engaging in "bestial" sexual behavior. These allegations fueled a public fascination that turned Koch into a household name and the foremost symbol of Nazi savagery. Her subsequent prosecution resulted in a scandal that prompted US Senate hearings and even the intervention of President Truman.Yet the most sensational atrocities attributed to Koch were apocryphal or unproven. In this authoritative reappraisal, Tomaz Jardim shows that, while Koch was guilty of heinous crimes, she also became a scapegoat for postwar Germans eager to distance themselves from the Nazi past. The popular condemnation of Koch--and the particularly perverse crimes attributed to her by prosecutors, the media, and the public at large--diverted attention from the far more consequential but less sensational complicity of millions of ordinary Germans in the Third Reich's crimes.Ilse Koch on Trial: Making the 'Bitch of Buchenwald' (Harvard UP, 2023) reveals how gendered perceptions of violence and culpability drove Koch's zealous prosecution at a time when male Nazi perpetrators responsible for greater crimes often escaped punishment or received lighter sentences. Both in the international press and during her three criminal trials, Koch was condemned for her violation of accepted gender norms and "good womanly behavior." Koch's "sexual barbarism," though treated as an emblem of the Third Reich's depravity, ultimately obscured the bureaucratized terror of the Nazi state and hampered understanding of the Holocaust. Learn more about your ad choices. Visit megaphone.fm/adchoices

At five years old, Kristal Brent Zook sat on the steps of a Venice Beach, California, motel trying to make sense of her white father’s abandonment, which left her feeling unworthy of a man’s love and of white protection. Raised by her working-class African American mother and grandmother, Zook was taught not to count on anyone, especially men. Men leave. Men disappoint. In adulthood she became a feminist, activist, and “race woman” journalist in New York City. Despite her professional success, something was missing. Coming to terms with her identity was a constant challenge.The Girl in the Yellow Poncho: A Memoir (Duke UP, 2023) is Zook’s coming-of-age tale about what it means to be biracial in America. Throughout, she grapples with in-betweenness while also facing childhood sexual assault, economic insecurity, and multigenerational alcoholism and substance abuse on both the Black and white sides of her family. Her story is one of strong Black women—herself, her cousin, her mother, and her grandmother—and the generational cycles of oppression and survival that seemingly defined their lives.Setting out on an inner journey that takes her across oceans and continents, Zook tells the story of a little girl who never gives up on love, even long after it seems to have been destroyed. In the end she triumphs, reconciling with her father and mother to create the family of her dreams through forgiveness and sheer force of will. A testament to the power of settling into one’s authentic identity, this book tells a story of a daughter’s lifelong yearning, a mother’s rediscovery of lost love, and the profound power of atonement and faith to heal a broken family.Katrina Anderson is a doctoral candidate at the University of Delaware. Learn more about your ad choices. Visit megaphone.fm/adchoices

Why Mariah Carey Matters (University of Texas Press, 2023) examines the creative and complicated evolution of the musical artist. In the 1990s, Carey perfected blending pop, hip-hop, and R&B and drew from her turbulent personal life to create introspective, sonically sound masterpieces like “Vision of Love,” “Make it Happen,” and “Butterfly.” There is no doubt about Carey’s star power, as she has sold over 220 million albums globally and has the most Billboard chart-topping singles of any solo artist. Although a pioneering songwriter and producer, Carey’s musicianship and influence are still insufficiently appreciated.Andrew Chan looks beyond Carey’s glamorous persona to explore her experience as a biracial Black woman in the music business, her adventurous forays into house music and gospel, and her appeal to multiple generations of queer audiences. He also reckons with the transcendent ideal of the voice that Carey represents, showing how this international icon taught artists worldwide to sing with soul-shaking intensity and a spirit of innovation.Andrew Chan writes regularly about music, film, and books. His work has been published by the Criterion Collection, Film Comment, NPR, the New Yorker, and Reverse Shot.Latoya Johnson is an editor, writer, and bibliophile with a master’s in Humanities. Her research and writing interests include popular culture, the public history of women’s fiction, and women in Greco-Roman mythology. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Among Women across Worlds: North Korea in the Global Cold War (Cornell University Press, 2023), Suzy Kim follows Korean women’s engagement in a broader international women’s movement from the beginnings of the Korean War in the 1940s until International Women’s Year in 1975. Obscured by layers of “cascading erasures,” the communist women of North Korea have been overlooked in traditional narratives of Asian and feminist history. By tracing their participation in global networks like the Women’s International Democratic Federation, Kim excavates their ideas about work and family, war and peace, and imperialism and capitalism. Turning to women’s magazines, traditional dance, socialist films, and the archives of international organizations, the book resurrects figures like Pak Chong-ae and the Korean Democratic Women’s Union and the transnational circulation of their political, economic, and cultural contributions. Many of their ideas remain strikingly contemporary—from the equitable distribution of domestic labor to an intersectional understanding of justice—and presage debates that feminists continue to grapple with today.Rebecca Turkington is a PhD Candidate in History at Cambridge University studying transnational women’s networks. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Jewish Women in Comics: Bodies and Borders (Syracuse UP, 2022), contributors draw upon a rich treasure trove of Jewish women’s comics to explore the representation of Jewish women’s bodies and bodily experiences in pictorial narratives. Spanning national, cultural, and artistic borders, the essays shine a light on the significant contributions of Jewish women to comics. The volume features established figures including Emil Ferris, Amy Kurzweil, Miriam Libicki, Trina Robbins, Sharon Rudahl, and Ilana Zeffren, alongside works by artists translated for the first time into English, such as artist Rona Mor. Exploring topics of family, motherhood, miscarriages, queerness, gender and Judaism, illness, war, Haredi and Orthodox family life, and the lingering impact of the Holocaust, the contributors present unique, at times intensely personal, insights into how Jewishness intersects with other forms of identity and identification. In doing so, the volume deepens our understanding of Jewish women’s experiences.Nathan Abrams is a professor of film at Bangor University in Wales. His most recent work is on film director Stanley Kubrick. To discuss and propose a book for interview you can reach him at n.abrams@bangor.ac.uk. Twitter: @ndabrams Learn more about your ad choices. Visit megaphone.fm/adchoices

In A Queer Way of Feeling: Girl Fans and Personal Archives of Early Hollywood (University of California Press, 2023), Diana W. Anselmo queers the earliest development of the "fangirl." Gathering an unexplored archive of fan-made scrapbooks, letters, diaries, and photographs, A Queer Way of Feeling explores how, in the 1910s, girls coming of age in the United States used cinema to forge a foundational language of female nonconformity, intimacy, and kinship. Pasting cross-dressed photos on personal scrapbooks and making love to movie actresses in epistolary writing, adolescent girls from all walks of life stitched together established homoerotic conventions with an emergent syntax of film stardom to make sense of mental states, actions, and proclivities self-described as "queer" or "different from the norm." Material testimonies of a forgotten audience, these autobiographical artifacts show how early movie-loving girls engendered terminologies, communities, and creative practices that would become cornerstones of media fan reception and queer belonging.Links Mentioned in the Episode English and comparative literature professor Saidiya Hartman's website Archivist Dorothy Berry's website Hallel Yadin is an archivist and special projects manager at the YIVO Institute for Jewish Research. Learn more about your ad choices. Visit megaphone.fm/adchoices

Creatures like Lilith, the seductive first wife of Adam, and mermaids, who lured sailors to their death, are familiar figures in the genre of monstrous temptresses who use their charms to entice men to their doom.But if we go back 4,000 years, the roots of these demons lie in horrific creatures like Lamashtu, a lion-headed Mesopotamian demon who strangled infants and murdered pregnant women, and Gello, a virgin ghost of ancient Greece who killed expectant mothers and babies out of jealousy. Far from enticing men into danger and destruction, these monsters were part of women's ritual practices surrounding childbirth and pregnancy. So how did their mythology evolve into one focused on the seduction of men?In Women's Lore: 4,000 Years of Sirens, Serpents, and Succubi (Apollo, 2023) Dr. Sarah Clegg takes us on an absorbing and witty journey from ancient Mesopotamia to the present day, encountering a multitude of serpentine succubi, a child-eating wolf-monster of ancient Greece, the Queen of Sheba and a host of vampires. Dr. Clegg shows how these demons were appropriated by male-centred societies, before they were eventually recast as symbols of women's liberation, offering new insights into attitudes towards womanhood, sexuality and women's rights.This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this interview, I speak with Marion Holmes Katz about her latest book Wives and Work: Islamic Law and Ethics Before Modernity (Columbia UP, 2022). This fascinating book explores the question of wives’ domestic responsibilities from a Sunni Islamic legal perspective, covering scholarship from the ninth to the fourteenth centuries. The book addresses questions such as, does the wife have the obligation to provide housework? What counts as housework? And if it is true that the wife is not obligated to perform any household labor, as many western Muslims believe, how did the Muslim tradition reconcile this ruling with the anecdote involving Fatima’s request to the Prophet Muhammad for help with household work because she is overworked? And how did Muslim scholars reconcile this idea with what they understood to be morally, culturally, or religiously correct behavior from a woman? If the wife does choose to perform housework, is she entitled to compensation from her husband? For most Muslim scholars historically, answers to these questions involved distinguishing between ethical ideals and legal claims. Katz shows, for instance, that the discourse on women’s household labor evolves with time, context, geographical location, such that, for example, in the formative period, it was widely accepted that wives are not obligated to perform any household chores, but by the time we get to the 14th century, this doctrine is challenged. Overall, then, not only do scholarly views expectedly disagree with each other, but also, scholars are less interested in providing a set of generic rules about wifely duties and more in encouraging the fulfillment of duties as they’re understood in one’s own social location.In our conversation today, we discuss the book’s main contributions and its origins; a hadith report describing an incident about Fatima’s request to Muhammad for domestic help; what exactly domestic service means and who is required or obligated to provide it—and what that obligation means; what exactly is so ethical about household work, since this discourse is rooted in ethics for Muslim scholars; and how male scholars have historically treated domestic service. We end with some thoughts on discussions about Islamic law and domestic service from a class perspective; for example, where do poor men and poor wives fit into this discussion? What are their rights? Learn more about your ad choices. Visit megaphone.fm/adchoices

While there is little doubt that women were active participants in medieval musical culture, their role has nevertheless been variously obfuscated, undermined, and overlooked, in large part because of the relative absence of named women composers. Work from recent decades has sought to re-insert women into our music-historical narratives, often by broadening their scopes and shifting away from strictly author-focused surveys. Female-Voice Song and Women's Musical Agency in the Middle Ages (Brill, 2022) brings together seventeen essays, each of which newly identifies contributions to musical culture made by women before 1500 across Europe. Encompassing not only medieval French, English, and Italian culture, but also stretching to Iceland and the Islamicite courts, this volume speaks to the various ways in which we can hear women’s voices through history.Prof. Lisa Colton and Dr. Anna Kathryn Grau jointly edited this collection, in addition to contributing chapters to it. In this episode, they speak with Áine Palmer about the study of women’s participation in medieval musical culture, the process of putting together an edited volume such as this, and share insights on their own analyses of 13th-century French motets.Further Reading and Listening:For those interested, you can here performer’s renditions of some of the songs and motets mentioned in Anna’s chapter here, here, and here, and a rendition of the motet Lisa’s chapter focuses on can be found here.Those interested in Bahktinian approaches to early music should also read Helen Dell, Desire by Gender and Genre in Trouvère Song (Woodbridge: Suffolk, 2008), particularly chapters 5 and 6, and Anna Kathryn Grau ‘Hearing Voices: Heteroglossia, Homoglossia, and the Old French Motet’ in Musica Disciplina 58 (2013), pp. 73-100.Prof. Lisa Colton can be found on Twitter at @elsie33, and you can find Dr. Anna Kathryn Grau at @AnnaKathrynGrau.Aine Palmer is a PhD candidate in the Music Department at Yale. Learn more about your ad choices. Visit megaphone.fm/adchoices