No Man's Land
The Place of the Woman Writer in the Twentieth Century Letters from the Front Volume 3
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No Man's Land by Sandra M. Gilbert
Book DescriptionThis final volume in Sandra M. Gilbert and Susan Gubar's Marianne Moore, Edna St. Vincent Millay, and H.D. to Zora Neale Hurston, Sylvia Plath, Toni Morrison and Margaret Atwood - have found themselves on a confusing cultural front and have responded by dispatching "missives" on the profound changes in the roles and rules that govern sexuality.
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Book DetailsISBN: 9780300056310
(235mm x 156mm x 45mm)
Imprint: Yale University Press
Publisher: Yale University Press
Publish Date: 3-Oct-1994
Country of Publication: United States
Books By Author Sandra M. Gilbert
Eating Words, Paperback (January 2017)
"Food writing spans centuries and philosophies... At long last there's a Norton Anthology with all the most important works."-Eater
Culinary Imagination, Hardback (September 2014)
From the recipe novel to the celebrity chef, renowned scholar Sandra Gilbert explores the poetics and politics of food.
Rereading Women, Hardback (August 2011)» View all books by Sandra M. Gilbert
A collection of essays that reexamine literature through a feminist gaze from "one of our most versatile and gifted writers" (Joyce Carol Oates).
US Kirkus Review » The final third of this feminist literary study maintains the quality of volumes I (The War of the Words, 1987) and II (Sexchanges, 1989) as it looks at women writers' exploration of our century's complex and ever-shifting cultural scene, particularly the thorny question of gender. Gilbert and Gubar take a generally chronological approach, beginning with the modernists. In their analysis, Virginia Woolf sketched scenarios challenging traditional sex roles, as well as the historical settings and the social hierarchies in which they functioned. Edna St. Vincent Millay and Marianne Moore were "female female impersonators" who exploited femininity's artificiality in an imaginative but uncertainly empowering way. The authors then move on to the Harlem Renaissance, arguing that such writers as Nora Zeale Hurston, Jessie Redmon Faucet, and Nella Larsen worked to reveal the "authentic (black) feminine" behind racial stereotypes and criticized (white) feminism. Intertwining the poet and her work, a chapter on HD maintains that she produced her long poems by consciously manipulating images of herself. Moving forward to WW II, Gilbert and Gubar discuss the period's "blitz on women": Cheesecake pinups on tanks and VD posters conflated sex and death, while even positive images of the women left behind were tinged with resentment. They contend that metaphors from the war, transformed into images of sexual battle, haunted the poems of Sylvia Plath, who fought toward a way of being a woman beyond the old patriarchal traditions. At once playful and thoughtful, the final chapter considers the multiplicity of women's stories via the authors' several rewrites of Snow White - e.g., the no-longer-evil queen challenges gender roles by advising Snow White to "marry the Prince but sleep with me too," while in another version a critically savvy queen realizes they're all "merely signifiers, signifying nothing." A satisfying conclusion to an ambitious project. (Kirkus Reviews)
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