Praised by her mentor John Adams, Mercy Otis Warren was America's first woman playwright and female historian of the American Revolution. In this unprecedented biography, Nancy Rubin Stuart reveals how Warren's provocative writing made her an exception among the largely voiceless women of the eighteenth century.

Praised by her mentor John Adams, Mercy Otis Warren was America's first woman playwright and female historian of the American Revolution. In this unprecedented biography, Nancy Rubin Stuart reveals how Warren's provocative writing made her an exception among the largely voiceless women of the eighteenth century.

The study of the impact of Black Power Movement (BPM) activists and organizations in the 1960s through ʼ70s has largely been confined to their role as proponents of social change; but they were also theorists of the change they sought. In The Revolution Will Not Be Theorized Errol A. Henderson explains this theoretical contribution and places it within a broader social theory of black revolution in the United States dating back to nineteenth-century black intellectuals. These include black nationalists, feminists, and anti-imperialists; activists and artists of the Harlem Renaissance; and early Cold War–era black revolutionists. The book first elaborates W. E. B. Du Bois's thesis of the "General Strike" during the Civil War, Alain Locke's thesis relating black culture to political and economic change, Harold Cruse's work on black cultural revolution, and Malcolm X's advocacy of black cultural and political revolution in the United States. Henderson then critically examines BPM revolutionists' theorizing regarding cultural and political revolution and the relationship between them in order to realize their revolutionary objectives. Focused more on importing theory from third world contexts that were dramatically different from the United States, BPM revolutionists largely ignored the theoretical template for black revolution most salient to their case, which undermined their ability to theorize a successful black revolution in the United States. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of The Pennsylvania State University. Learn more at the TOME website, available at: openmonographs.org, and access the book online at http://muse.jhu.edu/book/67098. It is also available through the SUNY Open Access Repository at http://hdl.handle.net/20.500.12648/1704.

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During the Russian Revolution and Civil War, amateur theater groups sprang up in cities across the country. Workers, peasants, students, soldiers, and sailors provided entertainment ranging from improvisations to gymnastics and from propaganda sketches to the plays of Chekhov. In Revolutionary Acts, Lynn Mally reconstructs the history of the amateur stage in Soviet Russia from 1917 to the height of the Stalinist purges. Her book illustrates in fascinating detail how Soviet culture was transformed during the new regime's first two decades in power. Of all the arts, theater had a special appeal for mass audiences in Russia, and with the coming of the revolution it took on an important role in the dissemination of the new socialist culture. Mally's analysis of amateur theater as a space where performers, their audiences, and the political authorities came into contact enables her to explore whether this culture emerged spontaneously "from below" or was imposed by the revolutionary elite. She shows that by the late 1920s, Soviet leaders had come to distrust the initiatives of the lower classes, and the amateur theaters fell increasingly under the guidance of artistic professionals. Within a few years, state agencies intervened to homogenize repertoire and performance style, and with the institutionalization of Socialist Realist principles, only those works in a unified Soviet canon were presented.

“An engrossing look at the human side of Benjamin Franklin . . . Using a post-feminist lens that’s critical of gender essentialism, Stuart rescues these women from obscurity . . . This is a terrific read: poignant, provocative, and probing.” —Library Journal, Starred Review A vivid portrait of the women who loved, nurtured, and defended America’s famous scientist and founding father. Everyone knows Benjamin Franklin—the thrifty inventor-statesman of the Revolutionary era—but not about his love life. Poor Richard’s Women reveals the long-neglected voices of the women Ben loved and lost during his lifelong struggle between passion and prudence. The most prominent among them was Deborah Read Franklin, his common-law wife and partner for 44 years. Long dismissed by historians, she was an independent, politically savvy woman and devoted wife who raised their children, managed his finances, and fought off angry mobs at gunpoint while he traipsed about England. Weaving detailed historical research with emotional intensity and personal testimony, Nancy Rubin Stuart traces Deborah’s life and those of Ben’s other romantic attachments through their personal correspondence. We are introduced to Margaret Stevenson, the widowed landlady who managed Ben’s life in London; Catherine Ray, the 23-year-old New Englander with whom he traveled overnight and later exchanged passionate letters; Madame Brillon, the beautiful French musician who flirted shamelessly with him, and the witty Madame Helvetius, who befriended the philosophes of pre-Revolutionary France and brought Ben to his knees. What emerges from Stuart’s pen is a colorful and poignant portrait of women in the age of revolution. Set two centuries before the rise of feminism, Poor Richard’s Women depicts the feisty, often-forgotten women dear to Ben’s heart who, despite obstacles, achieved an independence rarely enjoyed by their peers in that era.