Women

Enthralling generations of readers, the narrative of capture by Native Americans is arguably the first American literary form dominated by the experiences of women. The ten selections in this anthology span the early history of this country (1682-1892) and range in literary style from fact-based narrations to largely fictional, spellbinding adventure stories. The women are variously victimized, triumphant, or, in the case of Mary Jemison, permantently transculturated. This collection includes well known pieces such as Mary Rowlandson's A True History (1682), Cotton Mather's version of Hannah Dunstan's infamous captivity and escape (after scalping her captors!), and the "Panther Captivity", as well as lesser known texts.

As Derounian-Stodola demonstrates in the introduction, the stories also raise questions about the motives of their (often male) narrators and promoters, who in many cases embellish melodrama to heighten anti-British and anti-Indian propaganda, shape the tales for ecclesiastical purposes, or romanticize them to exploit the growing popularity of sentimental fiction in order to boost sales.

You know how sometimes friendship blossoms in the Þrst few moments of meeting? “Something clicked,” we say. Well, that’s what discovering Betty MacDonald was like for me: I happened to read a couple of pages of one of her books and — click — knew right away that here was a vivacious writer whose friendly, funny, and Þery company I was really going to enjoy. Although MacDonald’s Þrst and most popular book, The Egg and I, has remained in print since its original publication, her three other volumes have been unavailable for decades. The Plague and I recounts MacDonald’s experiences in a Seattle sanitarium, where the author spent almost a year (1938-39) battling tuberculosis. The White Plague was no laughing matter, but MacDonald nonetheless makes a sprightly tale of her brush with something deadly. Anybody Can Do Anything is a high-spirited, hilarious celebration of how “the warmth and loyalty and laughter of a big family” brightened their weathering of The Great Depression. In Onions in the Stew, MacDonald is in unbuttonedly frolicsome form as she describes how, with husband and daughters, she set to work making a life on a rough-and-tumble island in Puget Sound, a ferry-ride from Seattle.

With the continued expansion of the literary canon, multicultural works of modern literary fiction and autobiography have assumed an increasing importance for students and scholars of American literature. This exciting new series assembles key documents and criticism concerning these works that have so recently become central components of the American literature curriculum. Each casebook will reprint documents relating to the work's historical context and reception, present the best in critical essays, and when possible, feature an interview of the author. The series will provide, for the first time, an accessible forum in r ich readers can come to a fuller understanding of these contemporary masterpieces and the unique aspects of American ethnic, racial, or cultural experience that they so ably portray.

This case book presents a thought-provoking overview of critical debates surrounding The Woman Warrior, perhaps the best known Asian American literary work. The essays deal with such issues as the reception by various interpretive communities, canon formation, cultural authenticity, fictionality in autobiography, and feminist and poststructuralist subjectivity. The eight essays are supplemented an interview with the author and a bibliography.

In Writing Home, Mary Suzanne Schriber offers the first comprehensive analysis of the large body of U.S. women's travel literature written betwen the pre-Civil War years and World War I. Examining almost a century's worth of published book-length accounts, ranging from travel diaries of ordinary women to the narratives of Harriet Beecher Stowe and Edith Wharton, Schriber argues persuasively for the importance of gender considerations in the reading of a travel texts. She discusses the differences between men's and women's constructions, in writing, and their experiences abroad.

This literary critical book deals exclusively with contemporary fiction by women that focuses on aging of women. It discusses the emergence of a new fictional genre, the novel of ripening or Reifungsroman. This emerging genre about the aging heroine reconceptualizes middle and old age for women, taking it from a formerly stereotypical state of passivity and deterioration (by the hearthside) into one of adventure, growth, self-discovery, self-affirmation, and integration (on the open road). The book contains an extensive bibliography of twentieth-century popular periodical articles on aging (Canadian, American, and British); literary critical articles on aging in the fiction of Doris Lessing, Alice Adams, Paule Marshall, Elizabeth Taylor, Barbara Pym, May Sarton, and Margaret Laurence; as well as general literary critical works on these authors; and some general (non-literary) studies of aging, often from a feminist framework (such as Simone de Beavoir's The Coming of Age).

Using a feminist theoretical approach, with some influence from social literary critics such as Lentricchia and Said, the book surveys, in the first chapter, selected popular magazine articles written over this century. The next chapter analyzes fiction on middle-aged women, in works by Doris Lessing and Alice Adams. Chapter Three analyzes young-old women, in works by Barbara Pym, Elizabeth Taylor, and Paule Marshall. The final chapter looks at frail, or dependent old women, in works by May Sarton and Margaret Laurence. This work should be well received by students and scholars engaged in the study of literary criticism, women's studies in literature, gerontology, the life-cycle in literature, and contemporary women in literature.