- Used Book in Good Condition.
Book Description
A Jury of Her Peers is an unprecedented literary landmark: the first comprehensive history of American women writers
from 1650 to 2000.
In a narrative of immense and fascination--brimming with Elaine Showalter’s characteristic wit and incisive
opinions--we are introduced to more than 250 female writers. These include not only famous and expected names (Harriet
Beecher Stowe, Willa Cather, Dorothy Parker, Flannery O’Connor, Gwendolyn Brooks, Grace Paley, Toni Morrison, and Jodi
Picoult among them), but also many who were once successful and accled yet now are little known, from the early
American best-selling novelist Catherine Sedgwick to the Pulitzer Prize–winning playwright Susan Glaspell. Showalter
shows how these writers--both the enduring stars and the ones left behind by the canon--were connected to one another
and to their times. She believes it is high time to fully integrate the contributions of women into our American
literary heritage, and she undertakes the task with brilliance and flair, making the case for the unfairly overlooked
and putting the overrated firmly in their place.
Whether or not readers agree with the book’s roster of writers, A Jury of Her Peers is an irresistible invitation to
join the debate, to discover long-lost great writers, and to return to familiar titles with a deeper appreciation. It is
a monumental work that will greatly enrich our understanding of American literary history and culture.
Amazon Exclusive: Elaine Showalter's Top Ten Books by American Women Writers You Haven't Read (But Should)
Everyone knows the handful of novels by American women writers, from Uncle Tom’s Cabin to The House of Mirth and
Beloved, that make it onto standard reading lists. But there are hundreds of wonderful books by American women that have
been underestimated, overlooked, or forgotten.
Here’s my starting guide to ten extraordinary works of fiction--one from each decade of the twentieth century--that
deserve to be much better known.
* The Country of Lost Borders by Mary Hunter Austin (1909)
A moving collection of stories emphasizing the California landscape and the vulnerability of women, especially Native
American women who were seduced and abandoned by white men in the Wild West. The memorable final story about a
mysterious woman in the desert, “The Walking Woman,” is Austin’s manifesto of female independence, equality, tenderness,
and sorrow.
* Herland by Charlotte Perkins Gilman (1915)
Gilman’s clever utopian novel imagines three American men on a scientific expedition who hear tales of a “strange and
terrible Woman Land in the high distance,” and decide to find and invade it. Expecting to rule over the women, the men
are astounded, entranced, and defeated by the resourcefulness of an all-female society.
* The Home-Maker by Dorothy Canfield Fisher (1924)
Fisher was a prolific novelist, a judge for the Book of the Month Club, and a pioneer of Montessori education in the
U.S. She cled that The Home-Maker was more about children’s rights than women’s rights, but she empathized with all
the members of a middle-class family whose lives are being destroyed by the straitjacket of maintaining proper male and
female roles. When an accident forces the husband and wife to change places, everyone is much happier. This could be a
comic premise--Mr. Mom--but Fisher treats it with seriousness and psychological in.
* The Unpossessed by Tess Slesinger (1934)
Slesinger used her disillusion with the whole cultural spectrum of the 1930s for her sparkling satire of the New York
leftwing editors of a radical magazine. The novel is both a penetrating autobiographical portrait of the divided woman
intellectual of the decade, painfully torn between party politics and personal emancipation; and a timeless and very
funny lampoon of ideologues driven by vanity, political trendiness, and competition.
* The ain Lion by Jean Stafford (1947)
Stafford was at her best in this powerful coming-of-age novel about a young brother and sister, Ralph and Molly
Fawcett, who spend their summers at their grandher’s ranch in Colorado. While Ralph is being initiated into
adventurous manhood, Molly is fiercely and tragically resisting the dull femininity which lies in store for her.
* Maud Martha by Gwendolyn Brooks (1953)
The only novel by the poet Gwendolyn Brooks, Maud Martha tells the story of a poor black Chicago housewife, in a
lyrical form like that of Virginia Woolf’s Mrs. Dalloway, but suffused with anger against racism, war, and the daily
small tragedies of black women’s lives. An American classic.
* We Have Always Lived in the Castle by Shirley Jackson (1962)
Long overlooked, Jackson’s masterpiece has been rediscovered in the twenty-first century by writers from Stephen King
and Jonathan Lethem to Joyce Carol Oates. A perfectly constructed and spine-chilling example of the female gothic, the
novel was among the first great stories of the weird girl, part teenage outcast, part witch, as a dark heroine of
American horror.
* The Shadow Knows by Diane Johnson (1974)
While Diane Johnson’s novels about Americans in Paris (such as Le Divorce) have been bestsellers, The Shadow Knows is
my favorite among her books. Set in Northern California in the early 1970s, it is about the racial conflict and paranoia
of the decade, and, in Johnson’s words, “about persons on the fringe; they happen to be women, and what happens to them
is meant to be particular to America in the seventies.”
* Housekeeping by Marilynne Robinson (1980)
In her first novel, Pulitzer-Prize winning writer Robinson traced the lives of three generations of women in the
imaginary Idaho town of Finger, which is surrounded by ains and next to a dark lake. The narrator, Ruth, and
her sister, Lucille, are passed from one family caregiver to another; finally, their aunt Sylvie Fisher, a wanderer and
transient, comes back to keep house for them. But Sylvie’s bizarre housekeeping is like something out of a gothic fairy
tale, and the sisters find their separate ways to create their own domestic visions.
* Mona in the Promised Land by Gish Jen (1996)
Gish Jen is one of the funniest and most free-wheeling novelists of the multicultural 90s. In Mona in the Promised
Land, whose title plays off a long tradition of Jewish-American immigrant writing, the adolescent Chinese-American
heroine Mona Chang is at a new stage of ethnic identity, renaming and self-creation. In their own enclave, she and her
high school friends exchange food, music, games, and politics. In the promised land, American girls can change their
names, their religions, even re-invent their nationalities.