Reviews & Resources

Theater

Split Britches, by Lois Weaver in collaboration with Deborah Margolin and Peggy Shaw, directed by Lois Weaver for the Split Britches Company, Open Gate Theatre, New York City.

Beauty and the Beast—The Otic and Only World‐Famous Vaudeville Revue, written by Deborah Margolin in collaboration with Lois Weaver and Peggy Shaw, directed by Lois Weaver, Spring 1983, WOW Cafe, New York City.

'night, Mother, by Marsha Norman directed by Tom Moore, Golden Theatre, New York City.

The Department, by Barbara Gar‐son, directed by Chris Kraus, May 1983, Theater for the New City, New York City.

Sappho and Aphrodite, by Karen Malpede, directed by Lois Weaver, presented by the Sappho and Aphrodite Company as a work‐in‐progress, Provincetown Playhouse, March 1983, New York City.

Cloud 9, by Caryl Churchill, directed by Tommy Tune, Lucille Lortel Theatre, New York City.

Dance

With Longings to Realize, Johanna Boyce and Performance Group, January, 1983, Dance Theatre Workshop, New York City.

Theory and Play of the Duende, by Pilar Rioja, Repertorio Espanol's Gramercy Arts Theater, April 1983, New York City.

Ms. Barbie and Her Friends or Whose Life to Live, by the Barbara Mahler Dance Theater, March 1983, Cash Performance Space, New York City.

Music

Thoughts on Women's Popular Music

Meg Christian, Bottom Line, April 1983, New York City.

Holly Near and Ronnie Gilbert in Concert, Lincoln Center, Avery Fisher Hall April 13, 1983, New York City.

Books

Divine Dancer: A Biography of Ruth St. Denis by Suzanne Shelton. Garden City, New York: Doubleday & Company, Inc., 1981. 338 pp. Bibliography. Index.

American Women Dramatists of the Twentieth Century, A Bibliography. Brenda Coven. Metuchen, New Jersey & London: Scarecrow Press, 1982. 237 pp.

Women in Film: Both Sides of the Camera by E. Ann Kaplan. New York and London: Methuen, Inc., September, 1983.

Biographical Dictionary of Dance.Barbara Naomi Cohen‐Stratyner. New York: Schirmer Books, 1982. 970 pp.

American Women in Jazz: 1900 to the Present—Their Words, Lives, and Music.Sally Placksin. U.S.A.: Wideview Books, 1982. 322 pp. Bibliography, index, and discography.

Women in Theatre: Compassion and Hope.Karen Malpede. New York: Drama Book Publishers, 1983. 265 pp. Selected bibiography and index.

Listings     

Dréed's drag kinging of race,sex, and the queering of the American racial machine‐désirante

Help Wanted, written by Franz Xavier Kroetz, translated by Gitta Honegger, directed by JoAnne Akalaitis, presented by Mabou Mines at Theatre for the New City, New York City, February and April, 1986.

The Women Here Are No Different, by Nancy Beckett, directed by Jenny O'Hara, presented by 13th Street Repertory Company, New York City. (attended on 8.27.86).

The Early Girl, by Caroline Kava. Directed by Munson Hicks. Circle Repertory Theatre.

Crowsfeet Dance Collective, Performance Space 122, New York City. June 1986.

This Is For You, Anna/A Spectacle of Revenge, directed by June Guralnick; created by The Anna Project (initiated at the Nightwood Theatre in Toronto), Suzanne Odette Khun, Ann‐Marie MacDonald, Patricia Nichols, Banuta Rubess, Maureen White; performed by members of The Women's Ensemble Theatre: Mia Kanazawa, Alonia King, Judith Pucci, Debbie Smith.

Rate It X, produced by Lynn Campbell, Claudette Charbonnear, Paula de Koenigsberg and Lucy Winer. OMT Productions Inc and Channel 4 of London, 1985. NYC Film Forum 1987. Distributed by Interama Inc.

Interview with Filmmaker Marken Gorris, conducted by Katheryn White with Helma Klooss at the Barbizon Plaza Hotel in New York City during Holland Film Week at Carnegie Hall Cinema, Spring, 1986.

Sex &; Dance Series, Dance Theatre Workshop (DTW) and P.S. 122, October‐November, 1986.

L.O.W. in Gaia, by Rachel Rosenthal. The Kitchen. New York City.

Books

Interviews With Contemporary Women Playwrights, by Kathleen Betsko and Rachel Koenig. New York: Beech Tree Books, 1987. 480 pp. Index.

Feminist Theatre: An Introduction to Plays of Contemporary British and American Women, by Helene Keyssar. London: MacMillan Modern Dramatists, 1984. 223 pp. Bibliography and index.

The public forum

A Report on the Women's Preconvention of the National Educational Theatre Conference, Tisch School of the Arts and the Gallatin Division, New York University, August 15–16, 1986.

Founding Mothers: Contemporary Dance as a Canon for Women's Studies, Department of Dance in collaboration with the Women's Studies Program and the Research Center for the Arts and Humanities, University of Maryland, College Park.

The Third Annual Women in Theatre Festival, Boston, March 20–29, 1987.     

Under the analphabête series

Theatre

Speech (The Predicament of Three Women in the Nuclear Age), written and directed by Avram Patt, Theatre for the New York City, October 1983, New York City

Fen, by Caryl Churchill directed by Les Waters, London Joint Stock Theatre Group's production presented by Joseph Paff at the Public Theatre, New York City

Top Girls, by Caryl Churchill, directed by Max Stafford‐Clark, Royal Theatre Court production presented by Joseph Papp at The Public Theatre, New York City

Sophie, by comedienne Judy Sloan, October 1983, at the Gay Women's Alternative, New York City.

Awake Sleeping Heart, a collage for five women based on the life, journals and paintings of the Mexican artist Fri‐da Kahlo, conceived and directed by Emma Missouri, October 1983, Northampton, Massachusetts

Antigone Too: Rites of Love and Defiance, written and directed by Martha Boesing for At the Foot of the Mountain, August 1983, at the People's Center, Minneapolis, Minnesota

Orgasmo Adulto Escapes from the Zoo, by Dario Fo and Franca Rame, performed by Estelle Parsons at the Public Theatre, New York City, Fall 1983.

Dance

Celebration of Traditional Cultures, La Mama Annex, November 11–13, 1983.

History, An American Dream, by Anne Bogart, St. Mark's Church, October, 1983.

Vamot A Andar (Let's Get Going), Wallflower Order and Grupo Raiz, October, 1983, Symphony Space, New York City

Testimonies, New York City Political Dancers, Merce Cunningham Dance Studio, August 1983.

Set and Reset, Trisha Brown and Company, Brooklyn Academy of Music, October 1983.

Books

The Amazing Decade: Women and Performance Art in America 1970–1980, edited by Moira Roth. Los Angeles: Astro Ariz, 1983. 149 pp., bibliographies. Cloth: $25.00; paper: $12.50

Woman and Spirituality by Carol Ochs. Totowa, New Jersey: Rowman and Allanheld, 1983. 144 pp., notes, bibliography, index. Cloth: $16.95

Women In Music: An Anthology of Source Readings from the Middle Ages to the Present, edited by Carol Neuls‐Bates. New York: Harper &; Row, 1982. 332 pp., selected bibliography, index, illustrations. Cloth: $18.50

American Women Composers Before 1870 by Judith Tick. Ann Arbor, Michigan: UMI Research Press, 1983. 233 pp., appendix, notes, bibliography, index. Cloth: $44.95

Louise Farrenc, 1840–1875 by Bea Friedland. Ann Arbor, Michigan: UMI Research Press, 1980. 177 pp., appendices, notes, bibliography, index. Cloth: $49.95

Mourning Dress: A Costume and Social History by Lou Taylor, Boston: Allen &; Unwin, 1983. 287 pp., appendices, chapter notes, select bibliography, index. Cloth: $24.50

Listings     

Stelarc's post‐evolutionary performance art: Exposing collisions between the body and technology

Performance

The Tarnished Angels and The Elizabethan Phrasing of the Late Albert Ayler. Choreographed by Karole Armitage. Performed by The Armitage Ballet Scenery by David Salle. Brooklyn Academy of Music, November 1987.

Eden. Choreographed by Maguy Marin. Performed by Compagnie Maguy Marin (Creteil, France). Brooklyn Academy of Music, Next Wave Festival, October 20–22, 1987.

Elena's Aria. Choreographed by Anne Teresa de Keersmaeker. Performed by Rosas. Brooklyn Academy of Music, Next Wave Festival November 3–8, 1987.

Blue Scene Grey. Written, directed and designed by Linda Mussmann in collaboration with Claudia Bruce; music by Semih Firincioglu. Time &; Space Limited production, New York, October, 1987.

Dress Suits to Hire. Written by Holly Hughes in collaboration with Lois Weaver and Peggy Shaw. Performed by Lois Weaver and Peggy Shaw. Women's Interart Center, New York, through January 16, 1988.

Improvisations by Simone Forti and Pooh Kaye. 2nd Annual Festival of Women Improvisers, Kraine Gallery, New York City, October 10, 1987.

Blood on the Saddle. Choreographed by Jennifer Monson in collaboration with Zeena Parkins. Danspace, New York City, November 7, 1987.

Active Graphics II and Tangled Graphics. Choreographed by Pooh Kaye. Performed by Eccentric Motions. The Kitchen, New York City, December 5, 1987.

US. Written by Karen Malpede. Directed by Judith Malina. Co‐production of Theater for the New City and Living Theatre. New York, December 1987‐January 1988.

Film

The Golddiggers. Written by Sally Potter, Lindsay Cooper, and Rose English; directed and edited by Sally Potter; music by Lindsay Cooper; Rose English, art director and assistant editor; Babette Mangolte, lighting camera. Released 1983; New York premiere February, 1988.

Books

Technologies of Gender: Essays on Theory, Film, and Fiction, by Teresa de Lauretis. Indiana University Press, 1987.

Women Making Music: The Western Art Tradition, 1150–1950, edited by Jane Bowers and Judith Tick Chicago and Urbana: University of Illinois Press, 1986.

The public forum

On the Road: Voices of Bay Area Women in Performance. Performed, compiled, edited and produced by Anna Deavere Smith. West Coast Women in Theatre Conference, in conjunction with Julian Theatre, San Francisco, January 8–10, 1988.

Electra: An International Festival of Experimental Performance by Women.Double Edge Theatre, Boston, January 8–24, 1988.     

Gandhian selfhood and gendered embodiment

Girls, Girls, Girls! Bad Girls. Curaied by Marcia Tucker. The New Museum of Contemporary Art, New York City. Part I: January 14‐February 27, 1994. Part II: March 5‐April 10,1994.

Bad Girls West. Curated by Marcia Tanner. UCLA Wight Art Gallery, Los Angeles, January 25‐March 20,1994.

No More Nice Girls. Curated by Nicole Demerin, Mary Duffy, Joy Glidden, and Tona Hamashige. ABC No Rio, New York City, March 4‐April 1,1994.

Dirty Dishy Divine. Written and composed by Tiye Giraud. Directed by Laurie Carlos. Choreographed by Christina Jones. Dance Theater Workshop, New York City, January 19–23,1994.

Twilight: Los Angeles, 1992. Conceived, written, and performed by Anna Deavere Smith. Directed by George C. Wolfe. Original Music by Wendy Blackstone. Joseph Papp Public Theater, March‐May, 1994, and at the Cort Theatre, New York City, May‐June, 1994.

The America Play. Written by Suzan‐Lori Parks. Directed by Liz Diamond. Joseph Papp Public Theater, New York City, March, 1994.

1962. Written and directed by Iris Rose. Assisted by Christine Larchian. Downtown Art Company, New York City, February 10–20,1994.

Pikipikilauifi. Choreographed and danced by Tiina Helisten. The Department of Performance Studies, Tisch School of the Arts, New York University, New York City, December 17,1993.

Clit Notes. Performed and written by Holly Hughes. Directed by Dan Hurlin. P.S. 122, New York City, February 17–27 and March 4–5 &; 11–12,1994.

Naked Breath. Written and performed by Tim Miller. Highways Performance Space, Santa Monica. February 18‐March19,1994.

Hand‐held Journeys: A Showcase of Experimental Work by Women Filmmakers. Curated by Euridice Arratia. Joseph Papp Public Theatre, New York City, October 1993.

Bodylore. Edited by Katharine Young. Publications of the American Folklore Society, New Series, The University of Tennessee Press, Knoxville, 1993.     

Politics and culture in a Diva's diversion: The body of Astrid Hadad in performance

Performance

Song of Lawino. Directed by Valeria Vazilevski and choreographed by Ja‐wole Willa Jo Zollar. Aaron Davis Hall, City University of New York, New York, January 5–8, 1989.

Abingdon Square. Directed by Irene Fornes. American Place Theatre, New York, 1988.

The Kathy &; Mo Show: Parallel Lives. Written and produced by Kathy Najimy and Mo Gaffney. Westside Arts Theatre, 1989.

Annulla, An Autobiography. Written and Directed by Emily Mann, performed by Linda Hunt. TNT (The New Theatre of Brooklyn), New York, October‐November, 1988.

The Warrior Ant. Written and directed by Lee Breuer; music composed by Bob Telson. Brooklyn Academy of Music, Next Wave Festival, October 19–30, 1988.

Go Between Gettysburg. Written, directed and designed by Linda Mussmann, in collaboration with Claudia Bruce and composer Semih Firincioglu. Theatre of the Riverside Church, New York City, November 10–20, 1988.

Mary Surratt. Written, directed, and designed by Linda Mussmann, in collaboration with Claudia Bruce; music by Semih Firincioglu. Time &; Space Limited production. New York, 1988.

Elizabeth Streb. Dance Chance series, Dance Theatre Workshop, New York, January 4–8 and 11–13, 1989.

Books

Dance, Sex and Gender: Signs of ‘Identity, Dominance, Defiance and Desire, by Judith Lynne Hanna. Chicago: University of Chicago Press, 1988 ($15.95 paper).

The public forum

Sexist Images in Women's Performance. Performances by Jerri Allyn, Ellen Fisher and Dancenoise, and Panel moderated by Peggy Shaw. Movement Research, New York, December 19, 1988.

The Edinburgh Fringe Festival. Edinburgh, Scotland, 1988.

Plenty Money, by Pat Kaufman; Men, Women and Margaret Fuller, by Laurie James; “An Evening of Dance: Karen Bernard, Jean Churchill and Joanna Zubaty”; “Readings by Sonia Taitz,” Women &; Performance Events Series, produced by Katheryn Kovalcik‐White. Tisch School of the Arts, New York University, June‐December, 1988.     

Dancing death by fire: In search of Roop Kanwar

The Distances: The Diary of Alina Reyes, adapted and directed by Ralph Denier, performed by Margo Lee Sherman, based on a story by Julio Cortazar, translated by Paul Blackburn at the Spanish Institute, New York City, April 1984.

Whoopie Goldberg, at Dance Theatre Workshop, New York City, February 1984.

Mud, written and directed by Maria Irene Fames, at Theatre for the New City, Fall 1983.

Sarita, witten and directed by Maria Irene Fames, at Intar, New York City, February 1984.

A ... My Name is Alice, conceived and directed by Joan Micklin Silver and Julianne Boyd. New York City, Spring 1984.

Delicate Feelings, book and lyrics by Rosalyn Drexler, music by Steve and Franne Rosenthal, directed by George Ferencz, at Theatre for the New City, New York City, May 1984.

Las Gringos, conceived by Martha Boesing, created by the company of At the Foot of the Mountain, directed by Martha Boesing/Jan Magrane, at the People's Center, Minneapolis, Minnesota, April 1984.

The Owl was a Baker's Daughter, by Alice Eve Cohen, at the Douglas Fairbanks Studio as part of the International OFF Festival, sponsored by Fools Company, Inc., Theatre Row, May, 1984.

Dance

Skydance/Skytime, choreography by Elaine Summers, Guggenheim Museum, June 7–10,1984.

Café Müller, by Pina Bausch, performed at Brooklyn Academy of Music, June 1984.

Bluebeard, or Listening to a Tape Recording of Bela Bartok's Opera, Bluebeard's Castle by Pina Bausch, at Brooklyn Academy of Music, June 1984.

Pina Bausch, at Brooklyn Academy of Music, June 1984.

Interview with Molissa Fenley

Ripe and Dance the Sacred Cow, by Susan Rethorst, St. Marks Church, New York Cilty, March 15–18, 1984.

Books

The Soap Opera by Muriel G. Cantor and Suzanne Pingree. Beverly Hills, CA: Sage Publications, 1983. 154 pp. + bibliography, index. Cloth: $29.95; paper: $9.95.

Ladies of the Evening: Women Characters of Prime Time‐Television by Diana M. Meehan. Metuchen, NJ: Scarecrow Press, 1983. 179 pp. + nous, index. Cloth: $16.00.

Women's Reflections: The Feminist Film Movement by Jan Rosenberg. Ann Arbor, MI: UMI Research Press, 1983. 143 pp. + notes, bibliography, index. Cloth: $39.95.

Saints and Shrews: Women and Aging in American Popular Film by Karen M. Stoddard. Greenwood Press, Westport, CT: 1983,155 pp. + bibliography, index.

The Music of Pauline Oliveros by Heidi Von Gunden. Metuchen, NJ: Scarecrow Press, 1983.195 pp. + notes, bibliography, catalog of compositions, discography, index. Cloth: $15.00

Listings     

Reviews & Resources

Theatre

The Miss Firecracker Contest, by Be A Henley at Westside Arts Theatre, New York City.

Me and My Shadow by Terry Wolver‐ton, at ABC No Rio in New York City, Fall 1984.

A Good American Novel, by Beth Lapides, at P.S. 122, New York City, December 1984.

nubs? (?nubs/'nebz/n: an ugly woman), by Lisa Goldberg, produced at SUNY‐Binghamton Fine Arts Center, December 1984.

Out/In The World: Life in the Work of Jane Bowles, created, directed and performed by Ellie Covan, produced by Open Channels in New York City, October‐November, 1984.

Dance

Pooh Kaye and Eccentric Motions at Dance Theatre Workshop, New York City, October 1984.

Sequestered Gestures, Carol Martin, Experimental Intermedia Foundation, December 1984.

Senta Driver's Harry, Emanu‐El Midtown YM‐YWHA, New York City, October 1984.

Marie Chien Noir at the Jerusalem Festival, Israel, Summer 1984.

Film

A Question of Silence, directed by Marlene Gorris, Netherlands. A Quartet Films Release, 1982.

An earlier version of this review, “Ordinary Women Who Kill,” appeared in the New York Native, August 13–26, 1984.

Books

The Diaries of Judith Malina: 1941–1957 by Judith Malina. NY: Grove Press, Inc., 1984. 464 + index. Cloth: $22.50; paper: $11.95.

Women in Motion by Alexa L. Foreman. Bowling Green, OH: Bowling Green University Popular Press, 1983. 245 pp. + bibliography. Cloth: $19.95.

Women Composers, Conductors, and Musicians of the Twentieth Century by Jane Weiner LePage. Metuchen, NJ: Scarecrow Press, Inc., Volume I, 1980; Volume II, 1983. 275 pp. and 360 pp. respectively, index. Cloth: $18.50 and $21.50 respectively.

Stormy Weather: The Music and Lives of a Century of Jazzwomen by Linda Dahl. NY: Pantheon Books, 1984. 268 pp. + notes, discography, bibliography, index. Paper: $12.95.

Mother of the Blues: A Study of Ma Rainey by Sandra B. Lieb. Amherst, MA: University of Massachusetts Press, 1981. 173 pp. + discography, appendices, notes, bibliography, two indices. Paper: $9.95.

Listings     

Reviews

Rachel Rosenthal . Edited by Moira Roth. Baltimore and London: The Johns Hopkins University Press, 1997.

Mourning Sex: Performing Public Memories . By Peggy Phelan. Routledge, 1997.

Phaedra in Delirium . Written by Susan Yankowitz, directed by Alison Summers, performed by Kathleen Chalfant, Peter Jay Fernandez and Sandra Shipley. Presented by the Women's Project and Productions and the Classic Stage Company, New York City. January 20‐February 15, 1998.

Face to Face . Performed by Peeling the Banana, Second Stage Theatre. New York City, April 27, May 4, May 11, 1998.

Dancing the Self: the Solo Art Form . Featuring choreographers Terry Hollis, Amy Kail, Mark Kenison, Laura Staton, and Kathy Westwater in new solos. The 92nd Street Y Harkness Dance Center, New York City. February 1, 1998.

Jack Smith: Flaming Creature . A museum exhibition at P.S. 1 Contemporary Art Museum, Long Island City, NY, October 29, 1997‐March 1, 1998.     

Reviews and resources

Throes. Conceived and performed by Doorika. The Vineyard Theater, New York City, October 14, 1994.

Visiting Hours. An installation by Bob Flanagan in collaboration with Sherrie Rose. The New Museum of Contemporary Art, New York City, September 23‐December 31, 1994.

‘Aberrant Motion1–4.’ Videos by Cathy Sisler. Available through Groupe Intervention Video, Montreal, Quebec, H2T 1S6. Phone (514) 271–5506; Fax (514) 271–6980.

Converging Realities: Feminism in Australian Theatre by Peta Tait. Currency Press, Sydney, in conjunction with Artmoves, Melbourne, Australia, 1994. Released in the United States by Cambridge University Press, 1994.     

Reviews

The Absence of lzanagi By Kei Takei Performed at La MaMa E.T.C., New York June 22–25, 2000

Otome Bunraku performs two Japanese classics Japan Society, New York September 13–16, 2000

Towa—Part I—Kanojo (Eternity—Part I—She) By Kishida Rio Performed at Kinokuniya Southern Theatre, Tokyo August 31‐September 9, 2000

Toothless By Kazuko Hohki Performed at Battersea Arts Centre, London June‐July 2000

Hagi‐ke no San‐Shimai (Three Sisters of the Hagi Family) By Nagai Ai Performed at Theatre Tram, Setagaya Public Theatre, Tokyo November 4–19, 2000

Women's Gidayū and the Japanese Theatre Tradition. By A. Kimi Coaldrake. 1998. London and New York: Nissan Institute, Routledge Japanese Studies Series. Xxix+262. With nine‐track CD.

Takarazuka: Sexual Politics and Popular Culture in Modern Japan. By Jennifer Robertson. 1998. University of California Press, Japan. Xvi+278.

Angura: Posters of the Japanese Avant‐Garde. David G. Goodman. 1999. New York: Princeton Architectural Press. Viii+91.

About Face: Performing Race in Fashion and Theater. By Dorinne Kondo. 1997. New York and London: Routledge. xiii +277.     

Briefly noted

Modern Girls, Shining Stars, The Skies of Tokyo 5 Japanese Women. By Phyllis Birnbaum. 1999. New York: Columbia University Press.

Japanese Women: New Feminist Perspectives on the Past, Present and Future. Kumiko Fujimura‐Fanselow and Atsuko Kameda, eds. 1995. New York: Feminist Press, City University of New York.

The Voyage of Contemporary Japanese Theatre. By Senda Akihiko. Translated by J. Thomas Rimer. 1997. Honolulu: University of Hawai'i Press.

Geisha. Liza Dalby. 1998. Berkeley: University of California Press.     

Editing the 1930s: The Lost Work of Josephine Johnson Excerpts from Josephine Johnson's published and unpublished writings are quoted with permission of the Estate of Josephine Johnson Cannon. All quoted materials © Estate of Josephine Johnson Cannon 2005.

The radical avant-garde has aged profoundly. Yet, led by director Judith Malina, the Living Theatre, founded in 1947, remains the longest surviving political theatre collective in the US. The Living Theatre opened its doors at a new theatre/home on New York City's Lower East Side in 2007, where Malina directed a much lauded revival of the company's groundbreaking 1963 production of Kenneth Brown's The Brig, and performed the role of Maudie in the premiere production of Hanon Reznikov's adaptation of Doris Lessing's Maudie and Jane. Vibrant and luminous at 81, an aged Venus rising from the half shell, Malina (dis)played the decaying and decrepit Maudie, standing naked onstage, sensually and lovingly bathed by Pat Russell, playing Jane. Malina's ageing activist/artist's body and voice spoke volumes about decades of societal and cultural transformations, of sexual revolutions, and of wounds that never heal.

Evoking Pierre Nora's ‘sites of memory’—this performative lieu de memoire ‘talks back’ on many levels, both in contemporary contexts and re-membering the zeitgeist of Malina's earlier performances—nearly naked, strident and much younger in the Living Theatres’ legendary production of Paradise Now (1968–70), and eloquently, flamboyantly anarchist, if too old, playing Antigone in Malina's adaptation of Brecht's version of Sophocles play (1967–84). This essay analyses the mise en scène and the reception of Maudie and Jane in light of the working processes and performance history of director/performer/inspirator Malina. Finally, the challenges and hope made visible and corporeal in Malina's on- and off-stage performances are explored.     

Book Reviews

Brenda Webster, Paradise Farm. Albany: State University of New York Press, 1999.

Helen Wilcox, ed. Women and Literature in Britain 1500–1700. Cambridge and New York: Cambridge University Press, 1996.

Catherine B. Burroughs, Closet Stages: Joanna Baillie and the Theatre Theory of British Romantic Women Writers. University of Pennsylvania Press, 1997.     

Reviews

Certain Fragments: Contemporary Performance and Forced Entertainment By Tim Etchells, 1999. New York: Routledge

Up Your Ass Written by Valerie Solanas, Directed and Presented by George Coates, Performance Works at P.S. 122, New York City, February 7–25th, 2001

Siren Songs: Representations of Gender and Sexuality in Opera Edited by Mary Ann Smart. Princeton: Princeton University Press, 2000.

The Garden An installation by Paul McCarthy, Dietch Projects, New York City

39 MICROLECTURES: in proximity of performance by Matthew Goulish, London: Routledge, 2000     

Susannah Izzard and Nicola Barden,eds. Rethinking Gender and Therapy: The Changing Identities of Women.. Philadelphia: Open UP, 2001

Alice Walker, by Maria Lauret (New York: St. Martin's P, 2000).

Power, Race, and Gender in Academe: Strangers in the Tower?, edited by Shirley Geok‐Lin Lim and María Herrera‐Sobek (New York: The Modern Language Association of America, 2000).

Migrant Daughter: Coming of Age as a Mexican American Woman, by Frances Esquibel Tywoniak (Berkeley: U of California P, 2000).

Just Anger: Representing Women's Anger in Early Modern England, by Gwynne Kennedy (Carbondale: Southern Illinois UP, 2000).

Spirited Lives: How Nuns Shaped Catholic Culture and American Life, 1836–1920, by Carol K. Coburn and Martha Smith (Chapel Hill: U of North Carolina P, 1999).

States of Conflict: bender, Violence and Resistance, edited by Susie Jacobs, Ruth Jacobson and Jennifer Marchbank (London and New York: Zed Books, 2000).

The Hysteric's Guide to the Future Female Subject, by Juliet Flower MacCannell (Minneapolis: U of Minnesota P, 2000).

The Sounds of Feminist Theory, by Ruth Salvaggio (Albany: State U of New York P, 1999).

Literary Feminisms, by Ruth Robbins (New York: St. Martin's P, 2000).

Women and Faith: Catholic Religious Life in Italy from Late Antiquity to the Present, edited by Lucetta Scaraffia and Gabriella Zarri (Cambridge: Harvard UP, 1999).

Disarming the Nation: Women's Writing and the American Civil War, by Elizabeth Young (Chicago: U of Chicago P, 1999).

Dancing in the Street: Motown and the Cultural Politics of Detroit, by Suzanne Smith (Cambridge: Harvard UP, 1999).

Swinging Single: Representing Sexuality in the 1960s, edited by Hilary Radner and Moya Luckett (Minneapolis and London: U of Minneapolis P, 1999).

Maneuvers: The International Politics of Militarizing Women's Lives, by Cynthia Enloe (Berkeley: U of California P, 2000).     

Empire in Question: Reading,Writing, and Teaching British Imperialism,Antoinette Burton

Hawthorne and Women: Engendering and Expanding the Hawthorne Tradition, by John L. Idol, Jr. and Melinda M. Ponder. Amherst: U of Massachusetts P, 1999.

Regions of Identity: The Construction of America in Women's Fiction, 1885–1914, by Kate McCullough. Stanford: Stanford UP, 1999.

Golden Cables of Sympathy: The Transatlantic Sources of Nineteenth‐Century Feminism, by Margaret H. McFadden. Lexington: The UP of Kentucky, 1999.

Unruly Tongue: Identity and Voice in American Women's Writing, 1850–1930, by Martha J. Cutter. Jackson: UP of Mississippi, 1999.

Toni Morrison: A Critical Companion, by Missy Dehn Kubitschek. Westport, CT: Greenwood Press, 1998.

Contentions Traditions: The Debate On Sati in Colonial India, by Lata Mani. Berkeley: U of California P, 1998.

The Victorian Spinster and Colonial Emigration: Contested Subjects, by Rita S. Kranidis. New York: St. Martin's P, 1999.

Strange Secret Peoples: Fairies and Victorian Consciousness, by Carole G. Silver. New York and Oxford: Oxford UP, 1999.

Performing Gender and Comedy: Theories, Texts and Contexts, edited by Shannon Hengen. Studies in Humor and Gender. 4. Amsterdam: Gordon and Breach, 1998.

Transforming Shakespeare: Contemporary Women's Re‐Visions in Literature and Performance, edited by Marianne Novy. New York: St. Martin's P, 1999.

Singlewomen in the European Past, 1250–1800, edited by Judith M. Bennett and Amy M. Froide. Philadelphia: U of Pennsylvania P, 1999.     

Beyond stereotypes: Mary Wilkins Freeman's radical critique of nineteenth‐century cults of femininity

MARY SHELLEY &; FRANKENSTEIN; THE FATE OF ANDROGYNY by William Veeder. (The University of Chicago Press, 1986), Cloth, $22.50

THE FEMALE MALADY: WOMEN, MADNESS, AND ENGLISH CULTURE, 1830–1980 by Elaine Showalter. (New York: Pantheon Books, 1985), 312 pp., 29 illustrations.

PATRIARCHAL STRUCTURES IN SHAKESPEARE'S DRAMA by Peter Erickson. (Berkeley, Los Angeles, and London: University of California Press, 1985) xii + 209 pp. $22.00

RECLAIMING A CONVERSATION: THE IDEAL OF THE EDUCATED WOMAN by Jane Roland Martin. (New Haven: Yale University Press, 1985); ALMA MATER: DESIGN AND EXPERIENCE IN THE WOMEN'S COLLEGES FROM THEIR 19TH‐CENTURY BEGINNINGS TO THE 1930s by Helen Lefkowitz Horowitz. (New York: Knopf, 1984); IN THE COMPANY OF EDUCATED WOMEN: A HISTORY OF WOMEN AND HIGHER EDUCATION IN AMERICA by Barbara Miller Solomon. (New Haven: Yale University Press, 1985).