Women Writers & Feminist Theory Books

The Middle Place (Voice)

Kelly Corrigan

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Customer Reviews:
Total reviews: 80 Average rating: 4.5 of 5

Editorial Review:

"The Middle Place is about calling home. Instinctively. Even when all the paperwork -- a marriage license, a notarized deed, two birth certificates, and seven years of tax returns -- clearly indicates you're an adult, but all the same, there you are, clutching the phone and thanking God that you're still somebody's daughter."

For Kelly Corrigan, family is everything.

At thirty-six, she had a marriage that worked, a couple of funny, active kids, and a weekly newspaper column. But even as a thriving adult, Kelly still saw herself as George Corrigan's daughter. A garrulous Irish-American charmer from Baltimore, George was the center of the ebullient, raucous Corrigan clan. He greeted every day by opening his bedroom window and shouting, "Hello, World!" Suffice it to say, Kelly's was a colorful childhood, just the sort a girl could get attached to.

Kelly lives deep within what she calls the Middle Place -- "that sliver of time when parenthood and childhood overlap" -- comfortably wedged between her adult duties and her parents' care. But she's abruptly shoved into a coming-of-age when she finds a lump in her breast -- and gets the diagnosis no one wants to hear. And so Kelly's journey to full-blown adulthood begins. When George, too, learns he has late-stage cancer, it is Kelly's turn to take care of the man who had always taken care of her -- and show us a woman as she finally takes the leap and grows up.

Kelly Corrigan is a natural-born storyteller, a gift you quickly recognize as her father's legacy, and her stories are rich with everyday details. She captures the beat of an ordinary life and the tender, sometimes fractious moments that bind families together. Rueful and honest, Kelly is the prized friend who will tell you her darkest, lowest, screwiest thoughts, and then later, dance on the coffee table at your party.

Funny, yet heart-wrenching, The Middle Place is about being a parent and a child at the same time. It is about the special double-vision you get when you are standing with one foot in each place. It is about the family you make and the family you came from -- and locating, navigating, and finally celebrating the place where they meet. It is about reaching for life with both hands -- and finding it.

Longman Anthology of Women's Literature

Mary K. DeShazer

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Customer Reviews:
Total reviews: 12 Average rating: 4.0 of 5

A great anthology! 5 out of 5 stars.
1 of 1 people found this review helpful.

I'm using the Longman Anthology of the Romantics and their Contemporaries (3d edition) for the first time in my 3d-year Romantics course (enrolment 88 and counting!) -- I would like to thank the editors for doing a fantastic job -- the introductory essay (pp. 3-29) is truly unparallelled for clarity, scope, and intelligence -- absolutely filled to the brim with great, challenging ideas. The headnotes provide a meaningful, detailed historical background. Excellent, well annotated selections -- the notes are great too -- not condescending, not entirely ruled by the editors' obsessions, finely articulated. What a sane, sensible, well balanced, erudite anthology! Congratulations and thank you !

Editorial Review:

Offering readers key women's writings from the eighth century to the present, this global and multicultural anthology includes selections written in English by women from Great Britain and the U.S. as well as Australia, Canada, the Caribbean, Croatia, Ghana, India, New Zealand, Nigeria, South Africa. Organized thematically, the anthology emphasizes five important topics for women writers finding a voice, writing the body, rethinking the maternal, identity and difference, and resistance and transformation. Pivotal works of feminist theory by Woolf, Cixous, Showalter, hooks, Trinh, and others are also included. For those interested in women's literature.

The Awakening

Kate Chopin

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Customer Reviews:
Total reviews: 354 Average rating: 4.0 of 5

Lovely 4 out of 5 stars.
1 of 1 people found this review helpful.

I don't know if I have such great memories of this book because my friends I made such fun of it--but most of the books we mock are things we truly enjoyed.

Honestly, we all get a little sick of the depression and the whininess, but essentially this is a deep and thought-provoking novel of early feminism. It's symbolic and beautiful despite all its darkness.

How long have I been asleep? 5 out of 5 stars.
0 of 0 people found this review helpful.

On the cover page the following sentence caught my eye: "Written nearly one hundred years ago, THE AWAKENING is the compelling story of an extraordinary modern woman struggling against the constraints of marriage and motherhood, and slowly discovering the power of her own sexuality" (Avon Books). And truthfully, yes, that does sum everything up into a nice tidy bow. The novel is primarily about Edna Pontellier a woman in a loveless marriage. Edna wakes up from her half dead sleep once she embraces the emotions she didn't know she could even express. Edna embodies the classic tale of Phoenix: she is completely reborn.

The courage Chopin possessed to write this one hundred years ago is extraordinary. This is a feminist novel without being negative towards men. More than that, she explores feminine psyche in such a way that this novel could have been written in our time. But clearly, as the introductory page indicates, it was written nearly (now over) one hundred years ago. I can see why it was banned from libraries and schools. Edna, our protagonist, stands out from the rest of the Creole characters. Unlike the other women, she is not particularly attached to her children. She loves them of course, but she doesn't dote on them as the mothers (like Madame Ratignolle), nor does she seem to believe that the world revolves around her husband. On the contrary, Edna feels a longing she cannot explain. A belief that there is something more out there than just this. Psychologically this reminds me extensively of "The Yellow Wallpaper" by Charlotte Perkins Gilman. Everyone else is so quick to diagnose her without even wanting to listen to what she wants! Though we cannot be for certain (since it is merely implied but not stated), it appears that Edna also displays symptoms of depression.

Edna goes through a complete metamorphosis with her character. Her deconstruction begins by getting over her fear of swimming. There is such a beautiful scene with her swimming in the ocean after a party in the evening, with other people swimming and watching her. She keeps swimming until it frightens her how far she has ventured and she returns elated to her husband (who of course only says she didn't really go that far out). The turning point happens later when Robert (another man) returns with her and wishes her a good night and for the first time in YEARS she "felt pregnant with the first-felt throbbings of desire" (51). It is here that Edna AWAKENS from her half awake-half dead going-through-the-motions life. It is after this scene that her husband and people begin to notice a difference within her.

There are so many memorable scenes in this novel. What I enjoyed the most was seeing Edna's growth as an individual. Instead of doing wifely duties of visiting with her husbands' client's wives, she chose to go to the horse races and gamble (and win). She painted and committed herself to reading more and educating herself. She sold her paintings for money. She bought her own small abode (the pigeon house). She firmly established herself as an independent, career-oriented full person. She loved her children, but felt more at peace when they were gone. There is something to be said about that; not all women, Ms. Chopin may have been saying, should aspire to only be mothers. Why can't women enjoy themselves?

I won't spoil the ending but let me just say that it is very fitting. Even though it is the end of the novel Chopin leaves the readers thinking that Edna's life is just now beginning. Some will disagree, and that's what makes it so powerful. There is an implied ending, but truly we - as only students of literature - will never know for sure.

Editorial Review:

"She grew daring and reckless. Overestimating her strength. She wanted to swim far out. Where no woman had swum before."

A Room of One's Own

Virginia Woolf

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Customer Reviews:
Total reviews: 42 Average rating: 4.5 of 5

Obligatory Reading 5 out of 5 stars.
1 of 1 people found this review helpful.

Virginia Woolf in her best form - personal but not self-centred, concentrated and ready to fight for what she believes is right. This long essay gives her views on the position of women in literature but offers also an overview of their role through centuries - from the imaginary Shakespeare's sister to her contemporaries. A must read for all readers regardless of sex!

Still Relevant and Important 5 out of 5 stars.
1 of 1 people found this review helpful.

One cannot think well, love well, sleep well, if one has not dined well.
~Virginia Woolf, A Room of One's Own

Virginia Woolf's very intense A Room Of One's Own, is actually a long essay she wrote "with ardour and conviction" on the the topic of women and fiction, that she prepared when asked to speak about this subject at women's colleges. A Room of One's Own was published in 1929, when young women were still discouraged from attending college (due to genuine fear that a good education would make women unfit for marriage and motherhood), and although it's not angry in tone the essay reflects a society in which severe limitations were put on women and their achievements. Virginia Woolf speaks about the creative process that lead to her talks, of her notebook in which she recorded a multitude of ideas, thoughts, and mental meanderings, and writes about the train of thought that led to her conclusion, that "a woman must have money and a room of her own if she is to write fiction". In A Room of One's Own Virginia Woolf grapples with what is exactly meant by women and fiction (not a simple matter), and demonstrates and expresses the complexity of her thought in her trademark stream-of-consciousness writing. Defying conventions of the time, she talks about the actual food served at the luncheon party, of the soles and partridges and potatoes, and of the importance of food to the artist in a more general sense. She discusses numerous things in this full, layered essay of her thoughts, among them a sense of loss due to the war which began in August of 1914, that changed the underlying current of life--previously filled with music and poetry, with romance--and of the special difficulties women artists face (still relevant today!). Her message is simple (though the means is not), that women must have money (a fixed income) and a room of their own (privacy) in order to have the freedom to create, luxuries that men may take for granted. She imagines Shakespeare's "sister", equal in talent and genius, but because of her sex, never writes a word, never expresses her genius, never lives to old age because she takes her own life in quiet desperation. Her essay is meant to encourage young women, to inspire them to create, as she's sympathetic to their plight. In A Room of One's Own,Virginia Woolf wants the limitations removed, and for women to have the same intellectual freedom that men have had for centuries, so that they, too, may express their genius.

(This is a passage slightly modified from my blog about books, Suko's Notebook, suko95.blogspot.com, which I invite you to visit.)

Editorial Review:

Why is it that men, and not women, have always had power, wealth, and fame? Woolf cites the two keys to freedom: fixed income and one's own room. Foreword by Mary Gordon.

A Room of One's Own (Annotated)

Virginia Woolf

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Customer Reviews:
Total reviews: 6 Average rating: 4.5 of 5

Obligatory Reading 5 out of 5 stars.
2 of 3 people found this review helpful.

Virginia Woolf in her best form - personal but not self-centred, concentrated and ready to fight for what she believes is right. This long essay gives her views on the position of women in literature but offers also an overview of their role through centuries - from the imaginary Shakespeare's sister to her contemporaries. A must read for all readers regardless of sex!

Editorial Review:

In A Room of One's Own, Virginia Woolf imagines that Shakespeare had a sister: a sister equal to Shakespeare in talent, equal in genius, but whose legacy is radically different.This imaginary woman never writes a word and dies by her own hand, her genius unexpressed. But if only she had found the means to create, urges Woolf, she would have reached the same heights as her immortal sibling. In this classic essay,Virginia Woolf takes on the establishment, using her gift of language to dissect the world around her and give a voice to those who have none. Her message is simple: A woman must have a fixed income and a room of her own in order to have the freedom to create.

Annotated and with an introduction by Susan Gubar

Gender Trouble: Feminism and the Subversion of Identity (Routledge Classics)

Judith Butler

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Customer Reviews:
Total reviews: 25 Average rating: 3.5 of 5

Fascinating Ideas, Infuriating Writing Style 4 out of 5 stars.
5 of 5 people found this review helpful.

Readers who are willing to tolerate labyrinthine sentences and brain-cramping scholarly vocabulary and who already have a working understanding of Freud, Lacan, Foucault, and deconstruction will find in Butler a challenging, highly stimulating theorist of sex, gender, and sexuality.

Readers looking for a breezy and accessible discussion of gender roles in modern society should definitely look elsewhere.

Editorial Review:

Since its publication in 1990, Gender Trouble has become one of the key works of contemporary feminist theory, and an essential work for anyone interested in the study of gender, queer theory, or the politics of sexuality in culture. This is the text where Judith Butler began to advance the ideas that would go on to take life as "performativity theory," as well as some of the first articulations of the possibility for subversive gender practices, and she writes in her preface to the 10th anniversary edition released in 1999 that one point of Gender Trouble was "not to prescribe a new gendered way of life [...] but to open up the field of possibility for gender [...]" Widely taught, and widely debated, Gender Trouble continues to offer a powerful critique of heteronormativity and of the function of gender in the modern world.

Northanger Abbey

Jane Austen

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Customer Reviews:
Total reviews: 89 Average rating: 4.0 of 5

Northanger Abbey: Janeites rejoice in this light and lively tour de force 5 out of 5 stars.
1 of 1 people found this review helpful.

Northanger Abbey is a gem. Jane Austen (1775-1817)has written a charmiing little novel about a charming little lady named Catherine Moreland. Catherine is 15 as the novel begins in Wiltshire. She and the hilariously stupid Mrs. Allen go on a six week trip to nearby Bath to take the waters. Catherine meets the fashionable and fast Isabella Thorpe. Catherine dances with the clergyman Henry Tilney at a ball becoming infatuated with the clever young man. Henry and Catherine share a love for the Romantic Gothic novels of such authors as Ann Radcliff and Fanny Burney. Complications ensue but in the end the couple are wed.
The first half of the novel deals with doings in Bath; the second half is a trip taken by Catherine to the Tilney estate Northanger Abbey. Catherine thinks the house may contain a ghost as she is influenced in her thinking by a vivid imagination fueled by her sensational Gothic reading.
Minor characters are of interest: Captain Frederick Tilney the ladies man brother of Henry; old General Tilney the gruff father of Fred and Henry; Catherine's parents and Eleanor Tilney the kind and lovely sister of the two Tilney boys with whom Catherine forms a solid friendship.
The book includes a spirited defense of the art of novel writing by Miss Austen. It is a light and commonplace tale of young love told with the wit and wisdom of one of England's greatest authors. This less well known Austen novel is a delightful way to become an addict of the spinster from Hawton parsongage!

Editorial Review:

THIS little work was finished in the year 1803, and intended for immediate publication. It was disposed of to a bookseller, it was even advertised, and why the business proceeded no farther, the author has never been able to learn. That any bookseller should think it worth-while to purchase what he did not think it worth-while to publish seems extraordinary.

Out of Africa

Crown

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Total reviews: 48 Average rating: 4.5 of 5

Editorial Review:

In this book, the author of Seven Gothic Tales gives a true account of her life on her plantation in Kenya. She tells with classic simplicity of the ways of the country and the natives: of the beauty of the Ngong Hills and coffee trees in blossom: of her guests, from the Prince of Wales to Knudsen, the old charcoal burner, who visited her: of primitive festivals: of big game that were her near neighbors--lions, rhinos, elephants, zebras, buffaloes--and of Lulu, the little gazelle who came to live with her, unbelievably ladylike and beautiful.

The Random House colophon made its debut in February 1927 on the cover of a little pamphlet called "Announcement Number One." Bennett Cerf and Donald Klopfer, the company's founders, had acquired the Modern Library from publishers Boni and Liveright two years earlier. One day, their friend the illustrator Rockwell Kent stopped by their office. Cerf later recalled, "Rockwell was sitting at my desk facing Donald, and we were talking about doing a few books on the side, when suddenly I got an inspiration and said, 'I've got the name for our publishing house. We just said we were go-ing to publish a few books on the side at random. Let's call it Random House.' Donald liked the idea, and Rockwell Kent said, 'That's a great name. I'll draw your trademark.' So, sitting at my desk, he took a piece of paper and in five minutes drew Random House, which has been our colophon ever since." Throughout the years, the mission of Random House has remained consistent: to publish books of the highest quality, at random. We are proud to continue this tradition today.

This edition is set from the first American edition of 1937 and commemorates the seventy-fifth anniversary of Random House.

Slouching Towards Bethlehem (Modern Library)

Joan Didion

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Total reviews: 32 Average rating: 4.5 of 5

Editorial Review:

Upon its publication in 1968, Slouching Towards Bethlehem confirmed Joan Didion as one of the most prominent writers on the literary scene. Her unblinking vision and deadpan tone have influenced subsequent generations of reporters and essayists, changing our expectations of style, voice, and the artistic possibilities of nonfiction.
        
"In her portraits of people," The New York Times Book Review wrote, "Didion is not out to expose but to understand, and she shows us actors and millionaires, doomed brides and naïve acid-trippers, left-wing ideologues and snobs of the Hawaiian aristocracy in a way that makes them neither villainous nor glamorous, but alive and botched and often mournfully beautiful. . . . A rare display of some of the best prose written today in this country."
        
In essay after essay, Didion captures the dislocation of the 1960s, the disorientation of a country shredding itself apart with social change. Her essays not only describe the subject at hand--the murderous housewife, the little girl trailing the rock group, the millionaire bunkered in his mansion--but also offer a broader vision of America, one that is both terrifying and tender, ominous and uniquely her own.
        
Joyce Carol Oates has written, "Joan Didion is one of the very few writers of our time who approaches her terrible subject with absolute seriousness, with fear and humility and awe. Her powerful irony is often sorrowful rather than clever. . . . She has been an articulate witness to the most stubborn and intractable truths of our time, a memorable voice, partly eulogistic, partly despairing; always in control."

Bloom's Reviews: Harriet Beecher Stowe's Uncle Tom's Cabin

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Total reviews: 146 Average rating: 4.5 of 5

A towering, very important American classic 5 out of 5 stars.
3 of 3 people found this review helpful.

For whatever reasons, I'm one of those who, over the years, never gave "Uncle Tom's Cabin" much thought. I'm afraid I dismissed the book based on the derogatory cliche of describing a complacent black man as an Uncle Tom. What a pleasure to find how wrong I was.

Although the style of narration, the punctuation style of the day and the evolution of contractions, compound words and other bits of syntax show this book to be from the mid 1800s, "Uncle Tom's Cabin" is a modern novel. It is largely without the stifling level of detail offered in other books of the time, and it pushes the concept of omniscient narrator (perhaps along the lines of Vonnegut in "Breakfast of Champions") to a level that would likely be absurd in another story and purpose.

And Harriet Beecher Stowe did have a purpose - a daring, countervailing, completely forward-thinking challenge to the complacency of the day. The action of the story concludes in the second-to-last chapter. In the last chapter, called simply "Concluding Remarks," Stowe, referring to herself in third person, explains how she came to write the book, and in so doing pulls the reader beyond the realm of fiction in order to cap off her sermon. And a 500-page sermon is exactly what "Uncle Tom's Cabin" was and is.

To quote Stowe from the last chapter, "For many years of her life, the author avoided all reading upon or allusion to the subject of slavery, considering it as too painful to be inquired into, and one which advancing light and civilization would certainly live down. But, since the legislative act of 1850, when she heard, with perfect surprise and consternation, Christian and humane people actually recommending the remanding escaped fugitives into slavery, as a duty binding on good citizens,- when she heard, on all hands, from kind compassionate and estimable people, in the free states of the North, deliberation and discussions as to what Christian duty could be on his head,- she could only think, These men and Christians cannot know what slavery is; if they did, such a question could never be open for discussion. And from this arose a desire to exhibit it in a LIVING DRAMATIC REALITY [emphasis the author's]. She has endeavored to show it fairly, in the best and worst phases. In its BEST [emphasis the author's] aspect, she has, perhaps, been successful; but, oh! Who shall say what yet remains untold in that valley and shadow of death, that lies the other side?"


Within the narrative arts can be found a gray area between complete fiction and straightforwrad documenting. Within this area itself is a fine line of storytelling that sheds the fluff factor of fiction and the yawn factor of documentation. A story told along this line is not only compelling but offers to the receiver of the story a glimpse of what a life in the world depicted by the story must have been like. Or at the very least might have been like. This glimpse, whatever else it is, will be visceral, allowing the reader an actual emotional link. Finding this line is hard, staying on it harder and pulling off a finished work while remaining true to the line harder still. This is what Stowe did, a century before such a point of view emerged again in Americam media.

As such, Stowe explains that many of the characters are based on real people - yes, there really was a man as horrible as Simon Legree - and that most of the events in the book were based on true events known to her personally or through trusted reporting. This novelizing of reality was so compelling the book would be translated into twenty-two languages.


It would be relatively easy to take sentences and paragraphs out of context and reach the conclusion that Stowe decried slavery while holding the black race paternalistically. It's very possible to find any number of passages and label them as apologetic and paternalistic. There is, in fact, paternalism throughout the story, but this is a reflection of America ten years before the Civil War; and by the end of Stowe's "Concluding Remarks" this paternalism is gone.

I would describe the main apologist, St. Clare, who is keenly aware of the state of his own culture, as more of a rationalist. By making this character so, Stowe is able to open our eyes, as she opened many eyes of the day, to the subtler forms of defacto slavry - not at all to excuse slavery in general as some kind of natural order, but to bear witness to those toiling in other forms of captured work.

In 1851 the scullery maid of an English country home was not a slave, of course. Her employment was voluntary, after all, and at the end of a year she would have a few schillings to her name. But economically, perhaps even geographically, her freedom was largely unavailable to her, and so while not a slave under the law, the other side of her employment was the delivery of herself to twelve- or fifteen-hour days of scrubbing pots and pans. The delivery of herself to, at the end of any of those days, climbing three or four flights of a rear stairs to a garret; to a social life limited to the kitchen staff, which itself was a hierarchy that lorded over her; to little hope of marriage, if that's what she wanted, or to any sort of a life she might call her own. Why? To keep from starving to death.

And think about this today. Are you watching a 27" color TV with full remote that cost $199? Do you honestly think that set could have been made, boxed, shipped to a port in Asia, shipped by boat to the US, shipped by train and truck to your local StuffMart and sold to you profitably for one or two day's wages while every worker along the way was treated fairly? Do you care?


For the vast majority of those reading this review slavery is an abstracted and distant topic. It is a practice from a long ago past that might be given two meetings in a high school American History class, a cursory survey from which students might understand the concept of the economics of buying, selling and breeding human beings, from which they might be encouraged to imagine the suffering implicit to such practices.

Stowe's great achievment in writing "Uncle Tom's Cabin" was to belie the nuts and bolts, the mere logistics and schematics of slavery. She established for the reader the point of view of the slave, of a human life set against the legally sanctioned bureaucracy of slavery. She successfully depicted a person - an individual, a human being - sold as a product, warehoused as a product, transported as a product, and then set to use as an organic machine that was discarded and replaced when it broke. More to the point, she allows us glimpses into the inner lives, thoughts and prayers of those sold, warehoused, transported and used up while their ties to family and place, while their smallest hopes, are given credence only as an afterthought that may never coalesce. Only if, after having purchased a brother or a mother, there should be enough money remaining to buy the sister or the child. Only if it should be convenient and expedient for the planter to do so, only if it should strike that planter's fancy one particular afternoon but
not another.

This book is as meaningful today, in new ways, as it was in 1851, and that is wholly remarkable.

Editorial Review:

Bloom's Reviews are a acclaimed advancement to the standard chapter-by-chapter plot summaries provided by most study guides. Each Review saves a student time by presenting the latest research, from noted literary scholars, in a practical and lucid format, enabling students to concentrate on improving their knowledge and understanding of the work in question.