One doctor's career began more than half a century ago, during World War II; another's began only recently, near the start of the new millennium. One scientist was a Kentucky farm girl who had never dreamed of going to college; another survived the cultural re-education prescribed for intellectuals under China's late Chairman Mao. Despite various backgrounds, these women in science at the Vanderbilt University School of Medicine have much in common with each other, and, they hope, with women who will come after. Twenty-seven female scientists share their personal stories of life in academic research. They reveal their family backgrounds and how they became interested in science, research, and medicine. Each relates her educational growth, professional successes and struggles, and life experiences. Time after time, these doctors stress the joy of discovery and the keys to success: caring mentors, strong time management skills, and supportive friends and family.

Cynthia was just what Bill Masters wanted - at first. But her opulent charms proved a lot more accessible than her equally lush bank account, and after all she would be worth a hundred thousand dollars to him - dead. Besides, there was that pretty redhead, Sherry. And Donna, whom once he had loved and maybe he could love again . . . So Bill, who loved to hunt, set up his guns and his traps. Only this time the victim was human. Cynthia to be exact. Which would have worked out fine except that Sherry caught on. All those attractions of hers - the proud profile, the saucy hips, the slim, silky legs - they were prime bait. It was Bill who was snared now!

An outstanding poem and a consummate example of employing the dream vision technique. It is one of the longest works of Chaucer. The poet unfolds ten stories of virtuous women in nine sections. It is one of the first mock-heroic works in English Literature. Inspirational!...

Fisher's work is a vivid, lively, and readable translation of the most famous work of England's premier medieval poet. Preserving Chaucer's rhyme and meter and faithfully articulating his poetic voice, Fisher makes Chaucer's tales accessible to a contemporary ear.

In ‘Perilous Play’ we are thrust amongst a group of wealthy Southern Belles and boys on a particularly boring day, until a young doctor among them produces treats infused with cannabis. Taking them eagerly, the group soon finds themselves falling through a raucous, cannabis fuelled thrill ride with some almost fatal consequences. In many ways it is the 19th century equivalent of ‘Pineapple Express’ but with frocks and no Seth Rogen. Louisa May Alcott (1832-1888) was an author, abolitionist and proud feminist. Her family suffered financially while she was growing up and so she was forced to take on multiple jobs in her youth to help provide for her family. Her writing became her outlet, forming her ideas and beliefs in the empowerment of women and people into literature that reverberates to this day. Her most notable works include "Little Women", which is now a movie starring Saoirse Ronan and Timothée Chalamet, its sequel ‘Little Men’ and ‘An Old Fashioned Girl’.

One of NPR's Best Books of the Year “Straight’s memoir is a lyric social history of her multiracial clan in Riverside that explores the bonds of love and survival that bind them, with a particular emphasis on the women’s stories . . . The aftereffect of all these disparate stories juxtaposed in a single epic is remarkable. Its resonance lingers for days after reading.” —San Francisco Chronicle In the Country of Women is a valuable social history and a personal narrative that reads like a love song to America and indomitable women. In inland Southern California, near the desert and the Mexican border, Susan Straight, a self–proclaimed book nerd, and Dwayne Sims, an African American basketball player, started dating in high school. After college, they married and drove to Amherst, Massachusetts, where Straight met her teacher and mentor, James Baldwin, who encouraged her to write. Once back in Riverside, at driveway barbecues and fish fries with the large, close–knit Sims family, Straight—and eventually her three daughters—heard for decades the stories of Dwayne’s female ancestors. Some women escaped violence in post–slavery Tennessee, some escaped murder in Jim Crow Mississippi, and some fled abusive men. Straight’s mother–in–law, Alberta Sims, is the descendant at the heart of this memoir. Susan’s family, too, reflects the hardship and resilience of women pushing onward—from Switzerland, Canada, and the Colorado Rockies to California. A Pakistani word, biraderi, is one Straight uses to define a complex system of kinship and clan—those who become your family. An entire community helped raise her daughters. Of her three girls, now grown and working in museums and the entertainment industry, Straight writes, “The daughters of our ancestors carry in their blood at least three continents. We are not about borders. We are about love and survival.” “Certain books give off the sense that you won’t want them to end, so splendid the writing, so lyrical the stories. Such is the case with Southern California novelist Susan Straight’s new memoir, In the Country of Women . . . Her vibrant pages are filled with people of churned–together blood culled from scattered immigrants and native peoples, indomitable women and their babies. Yet they never succumb . . . Straight gives us permission to remember what went before with passion and attachment.” ––Los Angeles Times

A study of how and why women in early twentieth-century Hollywood went from having plenty of filmmaking opportunities to very few. Women Filmmakers in Early Hollywood explores when, how, and why women were accepted as filmmakers in the 1910s and why, by the 1920s, those opportunities had disappeared. In looking at the early film industry as an industry—a place of work—Mahar not only unravels the mystery of the disappearing female filmmaker but untangles the complicated relationship among gender, work culture, and business within modern industrial organizations. In the early 1910s, the film industry followed a theatrical model, fostering an egalitarian work culture in which everyone—male and female—helped behind the scenes in a variety of jobs. In this culture women thrived in powerful, creative roles, especially as writers, directors, and producers. By the end of that decade, however, mushrooming star salaries and skyrocketing movie budgets prompted the creation of the studio system. As the movie industry remade itself in the image of a modern American business, the masculinization of filmmaking took root. Mahar’s study integrates feminist methodologies of examining the gendering of work with thorough historical scholarship of American industry and business culture. Tracing the transformation of the film industry into a legitimate “big business” of the 1920s, and explaining the fate of the female filmmaker during the silent era, Mahar demonstrates how industrial growth and change can unexpectedly open—and close—opportunities for women. “With meticulous scholarship and fluid writing, Mahar tells the story of this golden era of female filmmaking . . . Women Filmmakers in Early Hollywood is not to be missed.” —Samantha Barbas, Women’s Review of Books “Mahar views the business of making movies from the inside-out, focusing on questions about changing industrial models and work conventions. At her best, she shows how the industry’s shifting business history impacted women’s opportunities, recasting current understanding about the American film industry's development.” —Hilary Hallett, Reviews in American History “A scrupulously researched and argued analysis of how and why women made great professional and artistic gains in the U.S. film industry from 1906 to the mid-1920s and why they lost most of that ground until the late twentieth century.” —Kathleen Feeley, Journal of American History “Women Filmmakers in Early Hollywood offers convincing evidence of how economic forces shaped women’s access to film production and presents a complex and engaging story of the women who took advantage of those opportunities.” —Pennee Bender, Business History Review