Despite what would seem some apparent likenesses, single men and single women are perceived in very different ways. Bachelors are rarely considered "lonely" or aberrant. They are not pitied. Rather, they are seen as having chosen to be "footloose and fancy free" to have sports cars, boats, and enjoy a series of unrestrictive relationships. Single women, however, do not enjoy such an esteemed reputation. Instead they have been viewed as abnormal, neurotic, or simply undesirable-attitudes that result in part from the long-standing belief that single women would not have chosen her life. Even the single career-woman is seldom viewed as enjoying the success she has achieved. No one believes she is truly fulfilled. Modern American culture has raised generations of women who believed that their true and most important role in society was to get married and have children. Anything short of this role was considered abnormal, unfulfilling, and suspect. This female stereotype has been exploited and perpetuated by some key films in the late 40's and early 50's. But more recently we have seen a shift in the cultural view of the spinster. The erosion of the traditional nuclear family, as well as a larger range of acceptable life choices, has caused our perceptions of unmarried women to change. The film industry has reflected this shift with updated stereotypes that depict this cultural trend. The shift in the way we perceive spinsters is the subject of current academic research which shows that a person's perception of particular societal roles influences the amount of stress or depression they experience when in that specific role. Further, although the way our culture perceives spinsters and the way the film industry portrays them may be evolving, we still are still left with a negative stereotype. Themes of choice and power have informed the lives of single women in all times and places. When considered at all in a scholarly context, single women have often been portrayed as victims, unhappily subjected to forces beyond their control. This collection of essays about "women on their own" attempts to correct that bias, by presenting a more complex view of single women in nineteenth- and twentieth-century United States and Europe. Topics covered in this book include the complex and ambiguous roles that society assigns to widows, and the greater social and financial independence that widows have often enjoyed; widow culture after major wars; the plight of homeless, middle-class single women during the Great Depression; and comparative sociological studies of contemporary single women in the United States, Britain, Ireland, and Cuba. Composed of papers presented to the Rutgers Center for Historical Analysis project on single women, this collection incorporates the work of specialists in anthropology, art history, history, and sociology. It is deeply connected with the emerging field of singleness studies (to which the RCHA has contributed an Internet-based bibliography of more than 800 items). All of the essays are new and have not been previously published.

prospectors for the first time. Sally Zanjani depicts more than one hundred women prospectors in often grueling, financially unrewarding, and utterly lonely efforts to strike it rich from the desert Southwest to the frozen rocks of Alaska and the Yukon. She tells their stories with warmth and skill and, in bringing them to life, forever changes our mental picture of the women who helped shape the modern West.

FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD In 1960, Harvard’s sister college, Radcliffe, announced the founding of an Institute for Independent Study, a “messy experiment” in women’s education that offered paid fellowships to those with a PhD or “the equivalent” in artistic achievement. Five of the women who received fellowships—poets Anne Sexton and Maxine Kumin, painter Barbara Swan, sculptor Marianna Pineda, and writer Tillie Olsen—quickly formed deep bonds with one another that would inspire and sustain their most ambitious work. They called themselves “the Equivalents.” Drawing from notebooks, letters, recordings, journals, poetry, and prose, Maggie Doherty weaves a moving narrative of friendship and ambition, art and activism, love and heartbreak, and shows how the institute spoke to the condition of women on the cusp of liberation. “Rich and powerful. . . . A love story about art and female friendship.” —Harper’s Magazine “Reads like a novel, and an intense one at that. . . . The Equivalents is an observant, thoughtful and energetic account.” —Margaret Atwood, The Globe and Mail (Toronto)

This is a collection of 101 letters from women who have taken the courageous and difficult step of creating a law firm of their own, either as a solo or with others. Focusing on the experiences, challenges, and opportunities of women-owned law firms, these women reiterate key themes: Of becoming businesswomen. Of choosing a practice area true to their passion. Of controlling not only their days but their destinies. Of ambition in action.

Meet the creative women who are living life on their own terms, and the unique living spaces they have designed and inhabit in this lavishly produced volume. Creative practitioners, philosophers, and rebels, the women chronicled in this volume refuse to compartmentalize or neglect any of their talents or interests. Instead, their lives are a canvas for their artistry. We see it in their homes and studios, on their tables, and in their wardrobes. Equal parts biography and interior design study, A Room of Her Own features twenty extraordinary women and takes us on a private tour across the world into their personal and professional domains. Among them are painters, sculptors, writers, chefs, designers, jewelers, curators, makers, and directors. While each woman has navigated a unique path, they are united in their refusal to play by the rules of others. Taking in the likes of the grand, sweeping halls of a castle in the Austrian countryside, a convent-like property in Mexico, and a cozy home on the banks of the Hudson, this book celebrates the homes, philosophies, design aesthetics, and practices of these inspiring multihyphenates.

In the new edition of a successful book, Anne Campbell redresses the balance of evolutionary theory in favour of women. She examines how selection pressures have shaped the female mind over thousands of generations: Their emotions, friendship, competition, aggression and mate choice.