Informed by recent historical research on nineteenth-century nationalism, this book demonstrates how the construction of a German national identity, especially in girls' education, came to be experienced by reading girls. The age of nationalism in nineteenth-century Germany generally conjures up images of the Prussian military, Fürst Otto von Bismarck, and Hohenzollern kings who welded together a nation out of disparate principalities through war and domestic social policy. Good Girls, Good Germans looks at how girls and young women became "national" during this period by participating in the national community in the home, in state-sponsored Töchterschulen, and in their reading of Mädchenliteratur. By learning to subordinate desires for individual agency to the perceived needs of the national community -- what Askey calls "emotional nationalism" -- girls could fulfill their class- andgender-specific roles in society and discover a sense of their importance for the progress of the German nation. Informed by recent historical research on nineteenth-century nationalism, Good Girls, Good Germansdemonstrates how the top-down construction of a national identity, especially in girls' education, came to be experienced by reading girls. Chapters in this book examine literature published for and taught to girls that encouraged readers to view domestic duties -- and even romance -- as potential avenues for national expression. By aligning her heart with the demands of the nation, a girl could successfully display her national involvement within the confines of the private sphere. Jennifer Drake Askey is Coordinator of Academic Program Development at Wilfrid Laurier University.

Set in Berlin in 1945, a brilliant thriller about the end of one war and the beginning of another is offered by the bestselling author of "Los Alamos."

THE INTERNATIONAL BESTSELLER THAT WILL TRANSFORM YOUR LIFE Stop worrying about being nicer, calmer or more patient. Be a d*ck. It all began for Alexandra Reinwarth when she said 'F*ck you!' to a friend. Realising this person was making her life a misery, she ditched her. This one small act of rebellion sparked a huge change in the way Alexandra forever dealt with social guilt about everything. The Good Girl's Guide To Being A D*ck will teach you how to embrace your inner d*ck, guiding you through who and what to get rid from your life, to stop worrying about what others think, and how the seemingly small things in life can have a huge impact on the quality of your every day living. Alexandra shows you how to embrace your own needs and desires to live the life you've always wanted. Learn to say what you want, ask for what you need and get the life you fully deserve. Go on, be a d*ck.

The Virginal Mother in German Culture presents an innovative and thorough analysis of the contradictory obsession with female virginity and idealization of maternal nature in Germany from the late eighteenth to the early twentieth centuries. Lauren Nossett explores how the complex social ideal of woman as both a sexless and maternal being led to the creation of a unique figure in German literature: the virginal mother. At the same time, she shows that the literary depictions of virginal mothers correspond to vilified biological mother figures, which point to a perceived threat in the long nineteenth century of the mother’s procreative power. Examining the virginal mother in the first novel by a German woman (Sophie von La Roche), canonical texts by Goethe, nineteenth-century popular fiction, autobiographical works, and Thea von Harbou’s novel Metropolis and Fritz Lang’s film by the same name, this book highlights the virginal mother at pivotal moments in German history and cultural development: the entrance of women into the literary market, the Goethezeit, the foundation of the German Empire, and the volatile Weimar Republic. The Virginal Mother in German Culture will be of interest to students and scholars of German literature, history, cultural and social studies, and women’s studies.

"In novels written at the end of the long nineteenth century, women in Germany and Austria engaged with some of the most pressing social questions of the modern age. Charlotte Woodford analyses a wide range of such works, many of them largely forgotten, in the context of the contemporary cultural discourses that informed their creation, such as writings on pacifism and socialism, prostitution, birth control and sexually transmitted diseases. Women's experience of contemporary medicine as patients and doctors is a fascinating theme, treated here by several authors. Through a close reading of works by Marie von Ebner-Eschenbach, Minna Kautsky, Gabriele Reuter, Helene Bohlau, Ilse Frapan, Hedwig Dohm, Lou Andreas-Salome, and others, this study shows how writers' determination to validate women's experience of the problems of modernity informed the aesthetic development of the novel by women."

"Sharp, brilliantly plotted, and totally engrossing."--KAREN M. MCMANUS, New York Times bestselling author of One of Us Is Lying "A crafty, dark, and disturbing story."--KATHLEEN GLASGOW, New York Times bestselling author of Girl In Pieces "A little bit Riverdale and a little bit Veronica Mars."--RILEY SAGER, bestselling author of Final Girls A Goodreads Best Young Adult Book of the Year Nominee From the author of The Darkest Corners and Little Monsters comes an all-new edge-of-your-seat thriller set in upstate New York about an eerie sequence of seemingly unrelated events that leaves five cheerleaders dead. There are no more cheerleaders in the town of Sunnybrook. First there was the car accident--two girls dead after hitting a tree on a rainy night. Not long after, the murders happened. Those two girls were killed by the man next door. The police shot him, so no one will ever know his reasons. Monica's sister was the last cheerleader to die. After her suicide, Sunnybrook High disbanded the cheer squad. No one wanted to be reminded of the girls they'd lost. That was five years ago. Now the faculty and students at Sunnybrook High want to remember the lost cheerleaders. But for Monica, it's not that easy. She just wants to forget. Only, Monica's world is starting to unravel. There are the letters in her stepdad's desk, an unearthed, years-old cell phone, a strange new friend at school. . . . Whatever happened five years ago isn't over. Some people in town know more than they're saying. And somehow, Monica is at the center of it all. There are no more cheerleaders in Sunnybrook, but that doesn't mean anyone else is safe. More Praise for Kara Thomas: "Gripping from start to finish . . . with twists that left me shocked."--VICTORIA AVEYARD, #1 New York Times bestselling author of Red Queen "You'll be up all night tearing through the pages."--BUSTLE "This deliciously deceptive thriller...is a must-have."--SLJ

“This priceless recapturing of darkened history . . . [is] stunningly intelligent and elegantly written . . . Utterly engrossing.” —Phillip Lopate, author of To Show and to Tell: The Craft of Literary Nonfiction In this moving collection of essays, Evelyn Toynton, “a wordsmith of the highest order” traces her family history, from her mother who left Germany as Hitler came to power to her relatives who escaped after suffering persecution and internment at the hands of the Nazis (Library Journal, starred review). Toynton only fully understood her harrowing genealogy as an adult living in New York, where she first came to terms with her connection to other Jews in America. Growing up, her family was German first, retaining the attitudes and the characteristics of the homeland they still loved and longed for, even as they built new lives in America, Israel, and England. Some, like her father, appeared to assimilate easily, while others never lost the feeling that they were living in exile. Powerfully rendered by an acclaimed author, They Were Good Germans Once is a remarkable account of survival, starting over, and the search for meaning and hope in a world forever altered. “A poignant memoir . . . The author’s tone is often elegiac. . . . A thoughtful, notable addition to the literature of the Holocaust.” —Kirkus Reviews “With Toynton’s signature intelligence, subtlety and wit, she describes members of her family—deracinated through no fault of their own—in portraits that are by turns surprising, hilarious and heartbreaking.” —Lynn Freed, author of The Romance of Elsewhere “[A] tragic, comic, sharply observed memoir.” —Carole Angier, author of Speak, Silence: In Search of W.G. Sebald

Transforming Girls: The Work of Nineteenth-Century Adolescence explores the paradox of the nineteenth-century girls’ book. On the one hand, early novels for adolescent girls rely on gender binaries and suggest that girls must accommodate and support a patriarchal framework to be happy. On the other, they provide access to imagined worlds in which teens are at the center. The early girls’ book frames female adolescence as an opportunity for productive investment in the self. This is a space where mentors who trust themselves, the education they provide, and the girl’s essentially good nature neutralize the girl’s own anxieties about maturity. These mid-nineteenth-century novels focus on female adolescence as a social category in unexpected ways. They draw not on a twentieth-century model of the alienated adolescent, but on a model of collaborative growth. The purpose of these novels is to approach adolescence—a category that continues to engage and perplex us—from another perspective, one in which fluid identity and the deliberate construction of a self are celebrated. They provide alternatives to cultural beliefs about what it was like to be a white, middle-class girl in the nineteenth century and challenge the assumption that the evolution of the girls’ book is always a movement towards less sexist, less restrictive images of girls. Drawing on forgotten bestsellers in the United States and Germany (where this genre is referred to as Backfischliteratur), Transforming Girls offers insightful readings that call scholars to reexamine the history of the girls’ book. It also outlines an alternate model for imagining adolescence and supporting adolescent girls. The awkward adolescent girl—so popular in mid-nineteenth-century fiction for girls—remains a valuable resource for understanding contemporary girls and stories about them.

"Reveals how socialist discourses and psychoanalytic ideas shaped the modern models of motherhood envisioned by left-wing and socially critical women writers working in the Weimar press and literary spheres. Women's experiences and opportunities in the Weimar Republic (1919-1933) were shaped by tensions between advances in women's rights and widespread adherence to conservative notions of gender roles and women's maternal duty. This book explores these tensions, which were particularly pronounced on the political left, by analyzing socialist and socially critical women writers' interventions in contemporary debates on gender and women's role in society. For women in Weimar Germany, writing represented a subversive medium through which they could individualize reproductive politics and imagine modern models of mothering. Relatable and aspirational mothering practices and mother figures feature in the literary and journalistic texts examined in this book. Theoretical and instructional works (by Alice Rèuhle-Gerstel and Henny Schumacher) and examples from the Social Democratic women's magazine Frauenwelt demonstrate how women writers adopted and adapted emerging psychological ideas to position their texts as modern and authoritative. A close analysis of critically neglected didactic texts (by Hermynia Zur Mèuhlen, Maria Leitner, Elfriede Brèuning, and Else Kienle) and socially critical popular fiction (by Irmgard Keun, Vicki Baum, and Gabriele Tergit) exposes how women writers envisaged models of motherhood and family that were compatible with their political beliefs and modern lifestyles. This book reveals a pragmatic discourse that advocated progressive policies regarding reproductive choice and the rights of single mothers while leaving notions of women's maternal nature and duty largely unchallenged"--

Recent scholarship has broadened definitions of war and shifted from the narrow focus on battles and power struggles to include narratives of the homefront and private sphere. To expand scholarship on textual representations of war means to shed light on the multiple theaters of war, and on the many voices who contributed to, were affected by, and/or critiqued German war efforts. Engaged women writers and artists commented on their nations' imperial and colonial ambitions and the events of the tumultuous beginning of the twentieth century. In an interdisciplinary investigation, this volume explores select female-authored, German-language texts focusing on German colonial wars and World War I and the discourses that promoted or critiqued their premises. They examine how colonial conflicts contributed to a persistent atmosphere of Kriegsbegeisterung (war enthusiasm) that eventually culminated in the outbreak of World War I, or a Kriegskritik (criticism of war) that resisted it. The span from German colonialism to World War I brings these explosive periods into relief and challenges readers to think about the intersection of nationalism, violence and gender and about the historical continuities and disruptions that shape such events.