In a memoir that pierces and delights us, Jill Ker Conway tells the story of her astonishing journey into adulthood--a journey that would ultimately span immense distances and encompass worlds, ideas, and ways of life that seem a century apart.She was seven before she ever saw another girl child. At eight, still too small to mount her horse unaided, she was galloping miles, alone, across Coorain, her parents' thirty thousand windswept, drought-haunted acres in the Australian outback, doing a "man's job" of helping herd the sheep because World War II had taken away the able-bodied men. She loved (and makes us see and feel) the vast unpeopled landscape, beautiful and hostile, whose uncertain weathers tormented the sheep ranchers with conflicting promises of riches and inescapable disaster. She adored (and makes us know) her large-visioned father and her strong, radiant mother, who had gone willingly with him into a pioneering life of loneliness and bone-breaking toil, who seemed miraculously to succeed in creating a warmly sheltering home in the harsh outback, and who, upon her husband's sudden death when Jill was ten, began to slide--bereft of the partnership of work and love that had so utterly fulfilled her--into depression and dependency. We see Jill, staggered by the loss of her father, catapulted to what seemed another planet--the suburban Sydney of the 1950s and its crowded, noisy, cliquish school life. Then the heady excitement of the University, but with it a yet more demanding course of lessons--Jill embracing new ideas, new possibilities, while at the same time trying to be mother to her mother and resenting it, escaping into drink, pulling herself back, striking a balance. We see her slowly gaining strength, coming into her own emotionally and intellectually and beginning the joyous love affair that gave wings to her newfound self. Worlds away from Coorain, in America, Jill Conway became a historian and the first woman president of Smith College. Her story of Coorain and the road from Coorain startles by its passion and evocative power, by its understanding of the ways in which a total, deep-rooted commitment to place--or to a dream--can at once liberate and imprison. It is a story of childhood as both Eden and anguish, and of growing up as a journey toward the difficult life of the free.
With simple shifts of perception, each of us can find the sacred in every day. Like the vibrant yet simple quilts that led her to live within the Amish community and to write about the experience in her bestselling book "Plain and Simple," the empty begging bowl is the powerful, inspirational symbol in Sue Bender's "Everyday Sacred." In the tradition of the begging bowl, she discovers a simple, profound wisdom we can all live by. Just as a Zen monk goes out each morning with an empty bowl in his hands and accepts whatever is placed in the bowl that day as his nourishment, so can we start each day afresh and find, at the end of the day that extraordinary things have come our way.
Filled with the people, stories, and experiences that found their way into Bender's own bowl, "Everyday Sacred" teaches us that each step along life's journey is a miraculous opportunity to learn. Whatever we are doing-whether meditating, weeding a garden, serving coffee in a busy coffee bar, or listening to a friend can be done with our full attention and love. It is these small acts that make every day sacred.
"Reading "Everyday Sacred," I felt as if I had spent an evening in lively conversation with Sue, searching for meaning through a variety of experiences, with myriad friends, and finding it at every turn" --Whitney Otto, author of "How to Make an American Quilt"
"It moved my whole being, seeped into my skin. Yes, I said, Yes. And the illustrations ...They're wonderful." --Natalie Goldberg, author of "Banana Rose"
Sue Bender is an accomplished artist, author, and much sought-after lecturer worldwide.
"I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman."In A Room of One's Own, Virginia Woolf imagines that Shakespeare had a sister--a sister equal to Shakespeare in talent, and 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. If only she had found the means to create, argues Woolf, she would have reached the same heights as her immortal sibling. In this classic essay, Woolf takes on the establishment, using her gift of language to dissect the world around her and give voice to those who are without. Her message is a simple one: women must have a steady income and a room of their own in order to have the freedom to create. With a Foreword by Mary Gordon
The acclaimed author of Refuge here weaves together a resonant and often rhapsodic manifesto on behalf of the landscapes she loves, combining the power of her observations in the field with her personal experience--as a woman, a Mormon, and a Westerner. Through the grace of her stories we come to see how a lack of intimacy with the natural world has initiated a lack of intimacy with each other.Williams shadows lions on the Serengeti and spots night herons in the Bronx. She pays homage to the rogue spirits of Edward Abbey and Georgia O'Keeffe, contemplates the unfathomable wildness of bears, and directs us to a politics of place. The result is an utterly persuasive book--one that has the power to change the way we live upon the earth.
"Required reading . . . " --Elizabeth Fernea, The University of Texas at Austin
"If a reader were to select only one book in order to gain insight into women's status and prospects in Islamic society, this study should be the one chosen for its clarity, honesty, depth of knowledge and thought-provoking qualities." --Arab Book World
In this expanded and updated edition, with a new introduction on Muslim women and fundamentalism, Mernissi argues that Islamic fundamentalism is in part a defense against recent changes in sex roles and perceptions of sexual identity.
An experience of the fragility of conventional images of masculinity is something many modern men share. Psychoanalyst Guy Corneau traces this experience to an even deeper feeling men have of their fathers' silence or absence-sometimes literal, but especially emotional and spiritual. Why is this feeling so profound in the lives of the postwar "baby boom" generation-men who are now approaching middle age? Because, he says, this generation marks a critical phase in the loss of the masculine initiation rituals that in the past ensured a boy's passage into manhood. In his engaging examination of the many different ways this missing link manifests in men's lives, Corneau shows that, for men today, regaining the essential "second birth" into manhood lies in gaining the ability to be a father to themselves-not only as a means of healing psychological pain, but as a necessary step in the process of becoming whole.
Volume I - Gender and Representation in New German CinemaVolume II - German Film History / German History on FilmInternational film has received some of its most original impulses from German film makers however the works by women directors in German speaking countries have been largely ignored in spite of the important social, political and historical issues they have raised. This is the first work to consider the broad spectrum of German cinema through the category of gender. These volumes will be standard handbooks in film studies for many years to come.
"A classic, for a reason" - Celeste Ng via TwitterIn her award-winning book The Woman Warrior, Maxine Hong Kingston created an entirely new form--an exhilarating blend of autobiography and mythology, of world and self, of hot rage and cool analysis. First published in 1976, it has become a classic in its innovative portrayal of multiple and intersecting identities--immigrant, female, Chinese, American. As a girl, Kingston lives in two confounding worlds: the California to which her parents have immigrated and the China of her mother's "talk stories." The fierce and wily women warriors of her mother's tales clash jarringly with the harsh reality of female oppression out of which they come. Kingston's sense of self emerges in the mystifying gaps in these stories, which she learns to fill with stories of her own. A warrior of words, she forges fractured myths and memories into an incandescent whole, achieving a new understanding of her family's past and her own present.