Elaine Showalter

The letters between Vera Brittain, author of Testament of Youth, and Winifred Holtby, author of South Riding, tell the story of an extraordinary friendship'Touching and inspiring' RACHEL COOKE, Observer'Lively, perceptive' MIRANDA SEYMOUR, Literary Review'A beautiful collection' DAISY DUNN, Sunday Times'A moving unvarnished chronicle' Sarah Watling, TelegraphFrom the time when they met at Somerville College, Oxford, until Winifred's early death at the age of thirty-seven, they wrote constantly, encouraging and advising each other, even through periods as literary rivals as they negotiated envy and self-doubt. Vera decisively influenced Winifred's passion for feminism and peace and Winifred gave Vera crucial support, fiercely believing in her literary gifts. Their letters, written from 1920 to 1935, kept them 'continuously together'.

These fascinating letters between Vera Brittain and Winifred Holtby tell the story of an extraordinary friendship.'A beautiful collection' Daisy Dunn, Sunday Times'Completely fascinating' Rachel Cooke, Observer'Lively, perceptive and immaculately edited' Miranda Seymour, Literary Review'A moving, unvarnished chronicle of intellectual comradeship' Sarah Watling, Telegraph A literary relationship that began when the women met at Somerville College, Oxford, in 1919, it lasted until Winifred's early death at the age of thirty-seven. The letters, written from 1920 to 1935, kept them 'continuously together', and show us the life of two pioneers who wished to make their mark as writers and campaigners. Each encouraged and advised the other. However, there were periods when they were literary rivals. Winifred landed a book deal first; Vera produced an international bestseller with Testament of Youth; and the letters show them negotiating envy and self-doubt. It was at times an uneven relationship: Vera, more than four years older, was married and had two children during this period, while Winifred, a single woman with an adventurous spirit, travelled and made a wide range of friends. As the heroine of her novel South Riding says, 'I was born to be a spinster and by God, I'm going to spin!' Vera decisively influenced Winifred's passion for feminism and peace; 'You made me,' Winifred told her. In turn, Winifred, who took care of Vera's children and placated her husband, gave Vera crucial intellectual and emotional support, fiercely believing in her literary gifts. A portrait of the inter-war years and a dramatic, touching and ultimately tragic story, the letters have the hallmarks of honest female friendship: not without friction and with its own delicate co-dependency, but life-changing for them both.

"She's hysterical." For centuries, the term "hysteria" has been used by physicians and laymen to diagnose and dismiss the extreme emotionality and mysterious physical disorders presumed to bedevil others—especially women. How did this medical concept assume its power? What cultural purposes does it serve? Why do different centuries and different circumstances produce different kinds of hysteria? These are among the questions pursued in this absorbing, erudite reevaluation of the history of hysteria. The widely respected authors draw upon the insights of social and cultural history, rather than Freudian psychoanalysis, to examine the ways in which hysteria has been conceived by doctors and patients, writers and artists, in Europe and North America, from antiquity to the early years of the twentieth century. In so doing, they show that a history of hysteria is a history of how we understand the mind. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.

"She's hysterical." For centuries, the term "hysteria" has been used by physicians and laymen to diagnose and dismiss the extreme emotionality and mysterious physical disorders presumed to bedevil others—especially women. How did this medical concept assume its power? What cultural purposes does it serve? Why do different centuries and different circumstances produce different kinds of hysteria? These are among the questions pursued in this absorbing, erudite reevaluation of the history of hysteria. The widely respected authors draw upon the insights of social and cultural history, rather than Freudian psychoanalysis, to examine the ways in which hysteria has been conceived by doctors and patients, writers and artists, in Europe and North America, from antiquity to the early years of the twentieth century. In so doing, they show that a history of hysteria is a history of how we understand the mind. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.

A "lively biography" (The New Yorker) of Julia Ward Howe, the powerful feminist pioneer and author of the Civil War anthem, "Battle Hymn of the Republic." Julia Ward (1819-1910) was an heiress who married a handsome accomplished doctor who worked with the blind and deaf. But Samuel Howe wasted her inheritance, mistreated and belittled her, and tried to stifle her intellect and freedom. Nevertheless Julia persisted and wrote poetry and a mildly shocking sexual novel that was published to good reviews. She also wrote the words to probably the most famous anthem in the country's history--the Civil War anthem, "Battle Hymn of the Republic." After Samuel died when she was fifty-one, Julia lived another forty years as a dynamic, tireless, and successful activist for women's rights, pacifism, and social reform. She became a groundbreaking figure in the abolitionist and suffrage movements, and a successful author and lecturer who fought her own battle for creative freedom and independence. In the "riveting" (The New York Times Book Review), "unfailingly vivid" (The Atlantic) and "invigorating" (O, The Oprah Magazine) The Civil Wars of Julia Ward Howe, esteemed author Elaine Showalter tells the story of Howe's determined self-creation and brings to life the society she inhabited and the obstacles she overcame. The Civil War challenged nineteenth-century ideas of separate spheres for men and women. In Howe's case, this transformation led to a rebellion against her marriage. She fought a second Civil War at home and discovered ways to combine domestic chores with creativity and politics, and she helped establish Mother's Day to honor women and to recruit them to her causes. "A biography with the verve and pace of a delicious novel... Showalter reveals the entwining of Howe's public and private lives, as she righteously battled her husband and society, and finally saw the glory she always believed she deserved" (The Boston Globe).

"A remarkable and brave novel. I was astonished at the acute angle of vision and the fullness of sympathy toward both men and women--and children."--Carol ShieldsAn ahead-of-its-time novel about an unhappy and obsessively house-proud mother of three whose husband is disabled, leaving her free to work in a department store and him to be a Montessori father. One of the ten best-selling novels of 1924 and made into a (silent) film, it was singled out by Elaine Showalter in her recent book on American women writers and was included in the collection "Five Hundred Great Books by Women." Dorothy Canfield Fisher (1879-1958) was one of America's best-known novelists. "The Home-Maker" has been a bestseller for Persephone Books in the United Kingdom, and with this edition it will be widely available in the United States.

Showalter explores the integral components of hysteria and identifies the disorder as being more universal than it is stereotypically known. Instead of the assumption that hysteria largely roots from the Victorian sexual repression and is commonly a female disorder, Showalter recognises parallels with other contemporary forms of illness, demonstrating its universality. ‘This is a brave book, not only because it dares to question feminist orthodoxies, but also because it reminds us that feminism’s purpose is the investigation of truth, not the perpetuation of blame’ Erica Jong, author of Fear of Flying

For centuries women have been marginalized and overlooked in American literary history. That injustice is corrected in this entertaining and provocative collection of 350 years of poetry and fiction by American women. From Puritan poet Anne Bradstreet to Margaret Fuller to Harriet Beecher Stowe, readers will encounter scores of lesser-known and forgotten writers who fully deserve to be rediscovered and enjoyed by new generations. Our famous women writers, including contemporary stars like Annie Proux and Jhumpa Lahiri, are showcased in their full literary context, offering an epic overview of the canon in one monumental, dazzling volume. This landmark anthology features the best work of our best American women, and was inspired and informed by the author's groundbreaking history celebrating women writers, A Jury of Her Peers.

Fascinating, incisive, intelligent and never afraid of being controversial, Elaine Showalter introduces us to more than 250 writers. Here are the famous and expected names, including Harriet Beecher Stowe, Willa Cather, Dorothy Parker, Flannery O'Connor, Gwendolyn Brooks, Grace Paley, Toni Morrison, and Jodi Picoult. And also many successful and acclaimed yet little-known writers, from the early American bestselling novelist Catherine Sedgwick to the Pulitzer Prize-winning playwright Susan Glaspell. A JURY OF HER PEERS is an irresistible invitation to discover great authors never before encountered and to return to familiar books with a deeper appreciation. It is a monumental work that enriches our understanding of American literary history and culture.

An unprecedented literary landmark: the first comprehensive history of American women writers from 1650 to the present. In a narrative of immense scope and fascination, here are more than 250 female writers, including the famous--Harriet Beecher Stowe, Dorothy Parker, Flannery O'Connor, and Toni Morrison, among others--and the little known, from the early American bestselling novelist Catherine Sedgwick to the Pulitzer Prize-winning playwright Susan Glaspell. Showalter integrates women's contributions into our nation's literary heritage with brilliance and flair, making the case for the unfairly overlooked and putting the overrated firmly in their place.

"I have been a character in academic fiction at least twice," Elaine Showalter writes, "once a voluptuous, promiscuous, drug-addicted bohemian, once a prudish, dumpy, judgmental frump. I hope I am not too easily identified in either of these guises . . . although I can tell you that I preferred being cast as the luscious Concord grape to my role as the withered prune." In the days before there were handbooks, self-help guides, or advice columns for graduate students and junior faculty, there were academic novels teaching us how a proper professor should speak, behave, dress, think, write, love, and (more than occasionally) solve murders. If many of these books are wildly funny, others paint pictures of failure and pain, of lives wasted or destroyed. Like the suburbs, Elaine Showalter notes, the campus can be the site of pastoral and refuge. But even ivory towers can be structurally unsound, or at least built with glass ceilings. Though we love to read about them, all is not well in the faculty towers, and the situation has been worsening. In Faculty Towers, Showalter takes a personal look at the ways novels about the academy have charted changes in the university and society since 1950. With her readings of C. P. Snow's idealized world of Cambridge dons, the globe-trotting antics of David Lodge's Morris Zapp, the sleuthing Kate Fansler in Amanda Cross's best-selling mystery series, or the recent spate of bitter novels in which narratives of sexual harassment seem to serve as fables of power, anger, and desire, Showalter holds a mirror up to the world she has inhabited over the course of a distinguished and often controversial career.

* Revised and expanded edition with a new introduction and postscript, published to coincide with Elaine Showalter's new hardback, A JURY OF HER PEERS

Teaching Literature is an inspirational guidebook for all teachers of English and American literature in higher education. Written by leading academic, prolific author and cultural journalist, Elaine ShowalterOriginal and provocative reflections on teaching literature in higher educationEncourages teachers to make their classroom practice intellectually excitingWide-ranging - covers the practical, theoretical, and methodological aspects of teaching literatureHighly practical - employs real examples from real classes and careers throughoutDraws on 40 years of international teaching experience

When first published in 1977, A Literature of Their Own quickly set the stage for the creative explosion of feminist literary studies that transformed the field in the 1980s. Launching a major new area for literary investigation, the book uncovered the long but neglected tradition of women writers in England. A classic of feminist criticism, its impact continues to be felt today. This revised and expanded edition contains a new introductory chapter surveying the book's reception and a new postscript chapter celebrating the legacy of feminism and feminist criticism in the efflorescence of contemporary British fiction by women.

This provocative and illuminating book charts the persistence of a cultural phenomenon. Tales of alien abduction, chronic fatigue syndrome, Gulf War syndrome, and the resurgence of repressed memories in psychotherapy are just a few of the signs that we live in an age of hysterical epidemics. As Elaine Showalter demonstrates, the triumphs of the therapeutic society have not been able to prevent the appearance of hysterical disorders, imaginary illnesses, rumor panics, and pseudomemories that mark the end of the millenium. Like the witch-hunts of the 1690s and the hypnotic cures of the 1980s, the hysterical syndromes of the 1990s reflect the fears and anxieties of a culture on the edge of change. Showalter highlights the full range of contemporary syndromes and draws connections to earlier times and settings, showing that hysterias mutate and are renamed; under the right circumstances, everyone is susceptible. Today, hysterical epidemics are not spread by viruses or vapors but by stories, narratives Showalter calls hystories that are created "in the interaction of troubled patients and sympathetic therapists... circulated through self-help books, articles in newspapers and magazines, TV talk shows, popular films, the Internet, even literary criticism." Though popular stereotypes of hysteria are still stigmatizing, largely because of their associations with women, many of the most recent manifestations receive respectful and widespread coverage. In an age skeptical of Freud and the power of unconscious desires and conflicts, personal troubles are blamed on everything from devil-worshipping sadists to conspiring governments. The result is the potential for paranoia and ignorance on a massive scale. Skillfully surveying the condition of hysteria—its causes, cures, famous patients, and doctors—in the twentieth century, Showalter also looks at literature, drama, and feminist representations of the hysterical. Hysterias, she shows, are always with us, a kind of collective coping mechanism for changing times; all that differs are names and labels, and at times of crisis, individual hysterias can become contagious. Insightful and sensitive, filled with fascinating new perspectives on a culture saturated with syndromes of every sort, Hystories is a gift of good sense from one of our best critics.

Offers essays on forty-one women authors

Stories by celebrated female writers Charlotte Perkins Gilman, Kate Chopin and Edith Wharton - edited by Elaine Showalter

Showalter's thoughtful, detailed introductory essay is a comprehensive analysis between Rosetti's novella and Craik's essays...the biographical portrait of Christina Rossetti's conflicts makes her a vivid example of the psychological and social barriers to the development of the female poets...her description of Dinah Mulock Craik stressed this woman's common-sense approach to ameliorating the position of the working-class woman in society...useful to students of feminist theory and of Victorian literature. --Academic Library Book Review Cristina Rossetti was nineteen years old when she wrote Maude: Prose and Verse in 1850. Clearly autobiographical, the novel examines the heroine's endeavor to resist the notion that modesty, virtue and domesticity constitute the sole duties of womanhood. For the precocious young poet, the work was only one of several projects of her teens. Growing up in London as the youngest child in a gifted and unusual family of artists and writers, Rossetti had early developed a poetic vocation. But by the time she wrote Maude, the lively, passionate, and adventurous little girl who had hated needlework, delighted in fiercely competitive games of chess, and explored the country with her brothers became a painfully constrained, sickly, and over-scrupulous teenager. Maude makes clear that at least some of Rossetti's affliction came from anxieties about poetic achievement, her wishes both to be admired for her genius and to renounce it as unfeminine. Often overshadowed by her brother Dante Gabriel Rossetti, Christina struggled to express her own independent authorial voice, and to resist a life bound by the constraints and demands of the traditional female role. Other late Victorian attitudes towards Anglican women's communities are brought out in On Sisterhoods by Dinah Mulock Craik which appeared in Longman's magazine in 1883. Craik herself worked on the literary border between feminine gentility and feminist rebellion. In 1850, when Christina Rossetti was writing Maude within the confines of her family, Dinah Mulock was supporting herself and her two younger brothers by her pen. On Sisterhoods confronts head-on 'the woman question.'Asserting that women's role is to find beauty in their lives through altruism and good works--to be more or less 'good women'--Craik provides a radical solution to the 'woman question' by advocating the encouragement of Anglican sisterhoods, effectively women's co-operatives. For her, the strongest argument for such a sisterhood is the alternative life it offers to single women, with no outlets for their maternal emotions. The third text presented here, Craik's A Woman's Thoughts About Women, was a widely circulated manual of advice on female self-sufficiency for unmarried women, based on her own experience in a family left destitute by an eccentric father when she was nineteen. It addressed a pressing contemporary problem: the large number of urban single women who were well educated and qualified but for whom traditional employment offered no place. Craik understood that independence would come hard to middle-class women, yet she was optimistic about the ways women might re-educate themselves, abandoning false pride and learning to manage small businesses or conduct trades. Throughout her career, Craik masked her private feminist views with disdain for women's rights and criticism of women's public activism. Unmarried and self-supporting until the age of forty, she wrote about the problems of single and working women in over fifty popular novels, children's stories and collections of essays.

Are American women writers from different eras and different backgrounds connected by common threads in a coherent tradition? How have the relationships between women's rights, women's rites, and women's writing figured in the history of literature by women in the United States? Drawing on a wide range of writers from Margaret Fuller to Alice Walker, Elaine Showalter argues that post-colonial as well as feminist literary theory can help us understand the hybrid, intertextual, and changing forms of American women's writing, and the way that `women's culture' intersects with other cultural forms. Showalter looks closely at three American classics - Little Women, The Awakening, and The House of Mirth - and traces the transformations in such major themes, images, and genres of American women's writing as the American Miranda, the Female Gothic, and the patchwork quilt. Ending with a moving description of the AIDS Memorial Quilt, she shows how the women's tradition is a literary quilt that offers a new map of a changing America.

A vital counter-interpretation of madness in women, showing how it is often a consequence of, rather than a deviation from, the traditional female role.