Annotation Writing from positions of cultural exclusion, women have faced constraints not only upon the "content" of fiction but upon the act of narration itself. Narrative voice thus becomes a matter not simply of technique but of social authority: how to speak publicly, to whom, and in whose name. Susan Sniader Lanser here explores patterns of narration in a wide range of novels by women of England, France, and the United States from the 1740s to the present. Drawing upon narratological and feminist theory, Lanser sheds new light on the history of "voice" as a narrative strategy and as a means of attaining social power.

This richly woven history ranges from the seventeenth century to the present as it masterfully traces the movement of American women out of the home and into the public sphere. Matthews examines the Revolutionary War period, when women exercised political strength through the boycott of household goods and Elizabeth Freeman successfully sued for freedom from enslavement in one of the two cases that ended slavery in Massachusetts. She follows the expansion of the country west, where a developing frontier attracted strong, resourceful women, and into the growing cities, where women entered public life through employment in factories and offices. Matthews illuminates the contributions of such outstanding Civil War women as Mary Ann "Mother" Bickerdyke, who supervised a cattle drive down the banks of the Mississippi so that soldiers would have fresh milk; Clara Barton, whose humanitarian work on behalf of the International Red Cross led her to become the first American woman to serve as official representative of the federal government; and Sojourner Truth, the impassioned black orator who devoted herself to emancipation. And Matthews brings the narrative to the 1970s, detailing the growing presence of women in American politics--from the suffrage marches of the early twentieth century, to the courageous stands women took during the civil rights movement of the 1960s. A fascinating and perceptive look at women throughout our history, The Rise of Public Woman offers an important perspective on the changing public role of women in the United States.

“Trapped in their cozy catacombs, the couples have made sex by turns their toy, their glue, their trauma, their therapy, their hope, their frustration, their revenge, their narcotic, their main line of communication and their sole and pitiable shield against the awareness of death.”—Time One of the signature novels of the American 1960s, Couples is a book that, when it debuted, scandalized the public with prose pictures of the way people live, and that today provides an engrossing epitaph to the short, happy life of the “post-Pill paradise.” It chronicles the interactions of ten young married couples in a seaside New England community who make a cult of sex and of themselves. The group of acquaintances form a magical circle, complete with ritualistic games, religious substitutions, a priest (Freddy Thorne), and a scapegoat (Piet Hanema). As with most American utopias, this one’s existence is brief and unsustainable, but the “imaginative quest” that inspires its creation is eternal. Praise for Couples “Couples [is] John Updike’s tour de force of extramarital wanderlust.”—The New York Times Book Review “Ingenious . . . If this is a dirty book, I don’t see how sex can be written about at all.”—Wilfrid Sheed, The New York Times Book Review

Hailed as a classic of speculative fiction, Marge Piercy’s landmark novel is a transformative vision of two futures—and what it takes to will one or the other into reality. Harrowing and prescient, Woman on the Edge of Time speaks to a new generation on whom these choices weigh more heavily than ever before. Connie Ramos is a Mexican American woman living on the streets of New York. Once ambitious and proud, she has lost her child, her husband, her dignity—and now they want to take her sanity. After being unjustly committed to a mental institution, Connie is contacted by an envoy from the year 2137, who shows her a time of sexual and racial equality, environmental purity, and unprecedented self-actualization. But Connie also bears witness to another potential outcome: a society of grotesque exploitation in which the barrier between person and commodity has finally been eroded. One will become our world. And Connie herself may strike the decisive blow. Praise for Woman on the Edge of Time “This is one of those rare novels that leave us different people at the end than we were at the beginning. Whether you are reading Marge Piercy’s great work again or for the first time, it will remind you that we are creating the future with every choice we make.”—Gloria Steinem “An ambitious, unusual novel about the possibilities for moral courage in contemporary society.”—The Philadelphia Inquirer “A stunning, even astonishing novel . . . marvelous and compelling.”—Publishers Weekly “Connie Ramos’s world is cuttingly real.”—Newsweek “Absorbing and exciting.”—The New York Times Book Review

Terry Castle's recent study of masquerade follows Bakhtin's analysis of the carnivalesque to conclude that, for women, masquerade offered exciting possibilities for social and sexual freedom. Castle's interpretation conforms to the fears expressed by male writers during the period—Addison, Steele, and Fielding all insisted that masquerade allowed women to usurp the privileges of men. Female authors, however, often mistrusted these claims, perceiving that masquerade's apparent freedoms were frequently nothing more than sophisticated forms of oppression. Catherine Craft-Fairchild's work provides a useful corrective to Castle's treatment of masquerade. She argues that, in fictions by Aphra Behn, Mary Davys, Eliza Haywood, Elizabeth Inchbald, and Frances Burney, masquerade is double-sided. It is represented in some cases as a disempowering capitulation to patriarchal strictures that posit female subordination. Often within the same text, however, masquerade is also depicted as an empowering defiance of the dominant norms for female behavior. Heroines who attempt to separate themselves from the image of womanhood they consciously construct escape victimization. In both cases, masquerade is the condition of femininity: gender in the woman's novel is constructed rather than essential. Craft-Fairchild examines the guises in which womanhood appears, analyzing the ways in which women writers both construct and deconstruct eighteenth-century cultural conceptions of femininity. She offers a careful and engaging textual analysis of both canonical and noncanonical eighteenth-century texts, thereby setting lesser-read fictions into a critical dialogue with more widely known novels. Detailed readings are informed throughout by the ideas of current feminist theorists, including Luce Irigaray, Julia Kristeva, Mary Ann Doane, and Kaja Silverman. Instead of assuming that fictions about women were based on biological fact, Craft-Fairchild stresses the opposite: the domestic novel itself constructs the domestic woman.

Kohen assembles America's most prominent comediennes to piece together an oral history about the revolution that happened to (and by) women in American comedy.

A sparkling debut that is “full of ambition and grit” (Emma Straub), Stephanie Clifford's Everybody Rise is a story about identity and loss, and how sometimes we have to lose everything to find our way back to who we really are. “Finally, a novel that admits ‘making it’ isn't just a makeover away.” -Vanity Fair Twenty-six-year-old Evelyn Beegan intended to free herself from the influence of her social-climbing mother, who propelled her through prep school and onto New York’s stately Upper East Side. Evelyn has long felt like an outsider to her privileged peers, but when she lands a job at a social-network startup aimed at the elite, she has no choice but to infiltrate their world. Soon she finds herself navigating the promised land of Adirondack camps, Hamptons beach houses, and, of course, the island of Manhattan itself. Intoxicated by the wealth, access, and influence of her new set, Evelyn can’t help but try to pass as old money herself. But when the lies become more tangled, she grasps with increasing desperation as the ground beneath her begins to give way. Chosen as one of Summer's Best Books by People Magazine Featured in Time Magazine's Summer Reading Entertainment Weekly's Summer Must List Good Housekeeping Beach Reads Feature

"A superb book. . . . A scintillating, continuously rewarding reflection on authorship and its place in the modern world. This is a study in the great tradition of Ian Watt's The Rise of the Novel: both a brilliant work of literary scholarship and an invigorating report on modernity itself."—Terry Castle, author of The Apparitional Lesbian "An exemplary instance of what many have been clamoring for: a rigorous cultural study of literature."—William B. Warner, author of Reading Clarissa