Stalking Aboriginal culture: the Wanda Koolmatrie affair

Hoax, v.t., n. 1. Deceive, take in, (person) by way of joke. 2. n. Humorous or mischievous deception. Fraud, n. Criminal deception, use of false representations to gain unjust advantage; dishonest artifice or trick. Imposition, (-z) n... piece of deception or advantage taking. Utter, v.t. put (notes, base coin, etc.) into circulation. History of a Deception Wanda Koolmatrie's novel My Own Sweet Time was published in 1994 by Magabala Books Aboriginal Corporation, an Aboriginal publishing house based in Broome, Western Australia. It is now known that Wanda Koolmatrie never existed, and My Own Sweet Time is believed to be the work, either jointly or individually, of two white Australian males known as John Bayley and Leon Carmen. As readers were informed in the biography provided by the publisher, Wanda Koolmatrie: was born in the far north of South Australia in 1949... Removed from her Pitjantjara mother in 1950, she was raised by foster parents in the western suburbs of Adelaide. She married Frank Koolmatrie, who died several years later...     

Building shared power: the Trans-Arabian Pipeline and the technopolitics of anti-sectarian labor mobilization in Lebanon, 1950–1964

ABSTRACT

This article examines anti-sectarianism and the technopolitics of labor mobilization at the facilities of the Trans-Arabian Pipeline (Tapline) company in Lebanon between 1950 and 1964. It argues that although Tapline helped sustain a Lebanese elite strategy of cross-sectarian power-sharing, it also unintentionally fostered specifically anti-sectarian labor mobilization. Pursuing a line of inquiry into the technopolitics of worker mobilization around oil infrastructure opened by Timothy Mitchell’s Carbon Democracy, this article specifically examines how Lebanese Tapline workers construed their actions, and did so in anti-sectarian terms. It also proposes that similar studies of labor and the technopolitics of infrastructure could offer productive avenues for inquiry into the origins of anti-sectarian politics in Lebanon.     

Attitudes to marriage and prostitution in the writings of olive schreiner,Mona Caird,Sarah Grand and George Egerton

Abstract

In recent years scholars have carried out valuable research into aspects of Victorian sexuality. This article offers some insights into the many and varied attitudes taken in the late nineteenth century towards marriage and prostitution, highlighting the fact that a number of advanced thinkers actually dared to speak of marriage itself as a form of prostitution. Four major figures of the fin-de-siècle period are discussed: Olive Schreiner, Mona Caird, Sarah Grand and George Egerton.     

I Could Kill a Woman or Wound a Man : Melancholic Rage in the Poems of Sylvia Plath

Fury jams the gullet and spreads poison, but, as soon as I start to write, dissipates, f lows out into the figure of the letters: writing as therapy? (Journals 255)     

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.     

Sabina Berman: Brief overview

Privilege, by Yvonne Rainer, 1991.¹

Bitch! Dyke! Faghag! Whore! Parti. (The Sex Show). Createdand performed by Penny Arcade. Presented by Theater for the New City, New York, October 13, 1990.

Daytrips. The Women's Project. Voyage to Lesbos. WOW Cafe. Hamlet. Barnard College. November, 1990.

Excerpts from the Attorney General's Report on Pornography ‐A Hard Place Theatre production. The Playground Theatre, New York City, January 10–20, 1990.

We Keep Our Victims Ready. Written, performed, and directed by Karen Finley. The Joyce Theater, New York City. September 18–22, 1990.

“Find Out Who Killed Laura Palmer” Episode of TwinPeaks, television series, directed by David Lynch. ABC.

World Without End. By Holly Hughes. P.S. 122, New York City, October, 1990.     

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     

Agriculture in world history

What does food sovereignty look like?

Raj Patel

Hannah Arendt observed that the first right, above all others, is the right to have rights. In many ways, Via Campesina's call for food sovereignty is precisely about invoking a right to have rights over food. But it's unclear quite how to cash out these ideas. This Grassroots Voices section examines some of the difficulties involved in parlaying the right to have rights about food systems into practical solutions.     

Feminism Means Business: Business Feminism,Sisterhood and Visibility

ABSTRACT

By interviewing self-proclaimed feminists with small-scale businesses who sell feminist commodities, the aim of this article is to understand why and how the market has become an arena for doing feminism and what this can tell us about contemporary feminism. Using theories of postfeminism and popular feminism in combination with Lacanian discourse theory, the analysis shows that feminism is renegotiated into ownership by reshaping the feminist discourse of sisterhood into business support and advice. Furthermore, competition is reshaped into a positive value of expanding the feminist community, and making profit is reshaped into a feminist discourse of equal pay. Business feminism produces an individual, visible, affluent and entrepreneurial feminist subject who does not challenge economic structures or ownership conditions.     

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.     

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     

Intergenerational Communities

Abstract

The authors argue for intergenerational programs based on two contemporary orientations to teaching and learning: constructiv-ist and sociocultural. They provide examples of school-based intra- and inter-generational activities that challenge conventional notions about the capabilities of young children and speak to the learning benefits of collaborative decision-making. The authors offer several specific guidelines for intergenerational program developers and researchers that focus on assessing the learning potential of intergenerational initiatives. They also recommend case studies and participatory research approaches as particularly useful for gaining insight into intergenerational learning processes.     

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.     

Writing independence: Gayatri Spivak and the dark continent of écriture feminíne

Public Sex: The Culture of Radical Sex, by Pat Califia. Cleis Books, 1994.

Stirring, Spinning, Sweeping. Performed by Marilyn Arsem with Virginia Abblitt. Slater Mill Historic Site, Pawtucket, Rhode Island, March, 1995.

The Lesbian Postmodern, edited by Laura Doan. Columbia University Press, 1994.

“Vulvamorphia.” Guest edited by Lillian Lennox. Lusitania #6 (1994).

Wonderland. Performed by Paula Josa‐Jones and Performance Works. Conceived and directed by Paula Josa‐Jones, choreography by Jones and dancers. World premiere at the Jacob's Pillow Dance Festival, Becket, Massachusetts. July 7–9, 1995.

Fast Trip, Long Drop, video by Gregg Bordowitz.     

Feminism and the Technological Age

Abstract

Feminism advocates for the inclusion of women within the modern economy, but this has implicated feminism in a hyper-capitalist and instrumental mode of organising social life. Feminism has helped to legitimise the ubiquitous reach of this regime into all areas of social life, even parenting. Feminism can learn from Heidegger's proposition that in questioning modern technology we may open up a way of coming into a free relationship with it—to be open to the divinity of living beings and things. Jessica Benjamin's account of the relationship between the mother and her infant in terms of intersubjectivity seems to fit Heidegger's proposition for it highlights a dynamic and receptive exchange between two unique living beings. The question for feminism at this time is: how can it own its complicity with modern technology while opening up its distinctive contribution to finding a way of coming into a free relationship with it?     

‘So that my soul may have time to grow’: Joy and Happiness in Elizabeth von Arnim’s The Solitary Summer

Abstract

This article discusses the Romantic and Transcendentalist roots of Elizabeth von Arnim’s joyful retreat from the world in The Solitary Summer (1899). By exploring how von Arnim incorporates themes and ideas from William Wordsworth and Henry David Thoreau, it situates von Arnim’s concepts of joy and happiness in the Aristotelian tradition of eudaemonia and shows how the practice of mindfulness turns Elizabeth’s garden into an ongoing project of self-cultivation.     

Book reviews

The following books are reviewed.

Kateryn parr: the making of a queen, SUSAN E. JAMES, 1999 Aldershot: Ashgate. 480 pp., ISBN 1 84014 683 4, £47.50

Mary Queen of Scots: romance and nation JAYNE ELIZABETH LEWIS, 1998 London: Routledge. 260 pp., ISBN 0 415 11480 2, hardback, £45; ISBN 0 415 11481 0, paperback, £15.99

Exile: a memoir of 1939 BRONKA SCHNEIDER, 1998 (Erika Bourguignon & Barbara Hill Rigney, Eds) Columbus: Ohio State University Press. xxi + 132 pp., ISBN 0 8142 0808 8

Speeches and Trials of the Militant Suffragettes: the Women's Social and Political Union, 1903-18 CHERYL R. JORGENSEN-EARP, 1999 Cranbury, NJ: Associated University Presses. 400 pp., ISBN 0 8386 3788 4, hardback, £38.00

Women in Britain since 1900 SUE BRULEY, 1999 Basingstoke: Macmillan. vii + 227 pp., ISBN 0 333 61838 6

Working Out Gender: perspectives from labour history MARGARET WALSH (Ed.), 1999 Aldershot: Ashgate. xi + 235 pp., ISBN 0 7546 0058 0

The Contest for Social Science: relations and representations of gender and class EILEEN YEO, 1996 London: Rivers Oram Press. xx + 396 pp., ISBN 1 85489 068 9, £30

Girls and Women, Men and Boys: gender in Taradale, 1886-1930 CAROLINE DALEY, 1999 Auckland: Auckland University Press, viii + 216 pp., ISBN 1 86940 211 1, NZ$39.95

Politics and Society: the Journals of Lady Knightley of Fawsley, 1885-1913 PETER GORDON (Ed.), 1999 Northampton: Northamptonshire Record Society. x + 535 pp., ISBN 0 901275 61 1, hardback, £20

Reading Witchcraft: stories of early English witches MARION GIBSON, 1999 London: Routledge. 242 pp., ISBN 0 415 20646 4, £14.99

Music and Gender PIRKKO MOISALA & BEVERLEY DIAMOND (Eds), 2000 Urbana: University of Illinois Press. xiii + 376 pp., ISBN 0 252 06865 3, $24.95

Parrot Pie for Breakfast: an anthology of women pioneers JANE ROBINSON, 1999 Oxford: Oxford University Press. xiv +177 pp., ISBN 0 19 288020 9, paperback, £8.99

Gender and Power in Britain, 1640-1990 SUSAN KINGSLEY KENT, 1999 London: Routledge. xii + 364 pp., ISBN 0 415 14742 5, £14.99

The Diary of Elizabeth Richards 1798-1825: from the Wexford Rebellion to family life in The Netherlands MARIE DE JONG-IJSSELSTEIN (Ed., with an Introduction by Kevin Whelan), 1999 Hilversum: Verloren. 171 pp., ISBN 90 6550 169 X, Fl. 35.26/Euro 16.00

Lady Mary Wortley Montagu: comet of the Enlightenment ISOBEL GRUNDY, 1999 Oxford: Oxford University Press. xxiii + 680 pp., ISBN 1 19 811280 0, £30

Defining the Victorian Nation: class, race, gender and the Reform Act of 1867 CATHERINE HALL, KEITH MCCLELLAND & JANE RENDALL, 2000 Cambridge: Cambridge University Press. xiii + 303 pp., ISBN 0 521 57653 9     

Holy Motherhood: gender,dynasty, and visual culture in the later Middle Ages ELIZABETH L'ESTRANGE

The following books are reviewed.

Florence Kelley and the Nation's Work: the rise of Women's political culture, 1830-1900 KATHRYN KISH SKLAR, 1995 New Haven: Yale University Press. xviii + 436 pp., ISBN 0 300 05912 4, $25

Charlotte Perkins Gilman: her progress toward utopia with selected writings CAROL FARLEY KESSLER, 1995 Syracuse, New York: Syracuse University Press. xi +316 pp., ISBN 0 8156 2644 4, hardback, £27.50, ISBN 0 8156 2644 5, paperback, £15

Always a Sister: the feminism of Lillian D. Wald DORIS GROSHEN DANIELS, 1995 New York: The Feminist Press. x +207 pp., ISBN 1 55861 113 4, paperback,$12.95

Good Enough Mothering? Feminist Perspectives on Lone Motherhood ELIZABETH BORTOLAIA SILVA (Ed.), 1996 London: Routledge. ix + 241 pp., ISBN 0 415 12889 7, hardback, £47.50, ISBN 0 415 12890 0, paperback, £14.99

The Case for Women in Medieval Culture ALCUIN BLAMIRES, 1997 Oxford: Clarendon Press. viii + 279 pp., ISBN 0 19 818256 2, £40.00

Midwives, Society and Childbirth: debates and controversies in the modern period HILARY MARLAND &; ANNE-MARIE RAFFERTY (Eds), 1997 London: Routledge. xiii + 278pp., ISBN 0 415 13328 9, hardback, £50.00

Black British Feminism: a reader HEIDI SAFIA MIRZA (Ed.), 1997 York: Routledge. xiv + 297pp., paperback, £14.99

Dear Laughing Motorbyke: letters from women welders of the Second World War MARGARETTA JOLLY (Ed.), 1997 London: Scarlet Press. x + 174pp., paperback, £9.99

Women, Guerrillas, and Love: understanding war in Central America ILEANA RODRÍGUEZ, 1996 Minneapolis: University of Minnesota Press. xxv + 183pp., $19.95

The New Woman: fiction and feminism at the fin-de-siécle SALLY LEDGER, 1997 Manchester: Manchester University Press. vii + 216pp., ISBN 0 7190 4092 2, hardback, £35, ISBN 0 7190 4093, paperback, £13.99

Single Mothers in an International Context: mothers or workers? SIMON DUNCAN &; ROSALIND EDWARDS (Eds), 1997 London: UCL Press. ix + 285 pp., ISBN 1 85728 791 6, paperback, £13.95

Moving the Goalposts: a history of sport and society since 1945 MARTIN POLLEY, 1998 London: Routledge. xii + 236 pp., ISBN 0 415 14217 2, paperback, £12.99

Imagining Home, Gender, ‘Race’ and National Identity, 1945-64 WENDY WEBSTER, 1998 London: UCL Press. 240 pp., ISBN 1 85728 350 3, hardback, £40.00, ISBN 1 8572 8 3511, paperback, £12.95

Faces of Feminism: an activist's reflections on the Women's Movement SHEILA TOBIAS, 1997 Oxford: Westview Press. xvi + 332 pp., ISBN 0 8133 2842 X, hardback, £17.95