"Women of History is a further development of the idea which suggested the companion volume, Men of History, viz.: "To exhibit views of the world's great men and women, as set forth in the best words of the best authors—to convey, as it were, at once impressions of History and Literature, and lessons in Biography and Style." -Preface

Women of History is a further development of the idea which suggested the companion volume, Men of History, viz.: "To exhibit views of the world's great men and women, as set forth in the best words of the best authors—to convey, as it were, at once impressions of History and Literature, and lessons in Biography and Style." In the present case, it has not been considered necessary to attempt a classification of the subjects in the manner followed in the preceding volume, from the fact that the feelings and motives which generally influence the lives of celebrated women are of a nature different from those of the opposite sex, and from the consequent want of a standard sufficiently distinct to adhere to. A chronological arrangement, however, has been adopted, which, it is hoped, will to a considerable extent supply the want of classification.

Recounts the lives and summarizes and evaluates the works of 135 of the world's most important female writers

In the 1830s, when a brave and curious girl named Elizabeth Blackwell was growing up, women were supposed to be wives and mothers. Some women could be teachers or seamstresses, but career options were few. Certainly no women were doctors. But Elizabeth refused to accept the common beliefs that women weren't smart enough to be doctors, or that they were too weak for such hard work. And she would not take no for an answer. Although she faced much opposition, she worked hard and finally—when she graduated from medical school and went on to have a brilliant career—proved her detractors wrong. This inspiring story of the first female doctor shows how one strong-willed woman opened the doors for all the female doctors to come. Who Says Women Can't Be Doctors? by Tanya Lee Stone is an NPR Best Book of 2013 This title has common core connections.

This volume explores the lives and works of nine Northern women who wrote during the Civil War period, examining the ways in which, through their writing, they engaged in the national debates of the time. Lyde Sizer shows that from the 1850 publication of Uncle Tom's Cabin through Reconstruction, these women, as well as a larger mosaic of lesser-known writers, used their mainstream writings publicly to make sense of war, womanhood, Union, slavery, republicanism, heroism, and death. Among the authors discussed are Lydia Maria Child, Harriet Beecher Stowe, Sara Willis Parton (Fanny Fern), Frances Ellen Watkins Harper, Mrs. E. D. E. N. Southworth, Mary Abigail Dodge (Gail Hamilton), Louisa May Alcott, Rebecca Harding Davis, and Elizabeth Stuart Phelps. Although direct political or partisan power was denied to women, these writers actively participated in discussions of national issues through their sentimental novels, short stories, essays, poetry, and letters to the editor. Sizer pays close attention to how these mostly middle-class women attempted to create a "rhetoric of unity," giving common purpose to women despite differences in class, race, and politics. This theme of unity was ultimately deployed to establish a white middle-class standard of womanhood, meant to exclude as well as include.

This groundbreaking study explores the later lives and late-life writings of more than two dozen British women authors active during the long eighteenth century. Drawing on biographical materials, literary texts, and reception histories, Devoney Looser finds that far from fading into moribund old age, female literary greats such as Anna Letitia Barbauld, Frances Burney, Maria Edgeworth, Catharine Macaulay, Hester Lynch Piozzi, and Jane Porter toiled for decades after they achieved acclaim -- despite seemingly concerted attempts by literary gatekeepers to marginalize their later contributions. Though these remarkable women wrote and published well into old age, Looser sees in their late careers the necessity of choosing among several different paths. These included receding into the background as authors of "classics," adapting to grandmotherly standards of behavior, attempting to reshape masculinized conceptions of aged wisdom, or trying to create entirely new categories for older women writers. In assessing how these writers affected and were affected by the culture in which they lived, and in examining their varied reactions to the prospect of aging, Looser constructs careful portraits of each of her Subjects and explains why many turned toward retrospection in their later works. In illuminating the powerful and often poorly recognized legacy of the British women writers who spurred a marketplace revolution in their earlier years only to find unanticipated barriers to acceptance in later life, Looser opens up new scholarly territory in the burgeoning field of feminist age studies.