Every person who goes through the emotional and physical upheaval of cancer has a story. Most, however, do not write it down. In this remarkable collection of poems, Judith Bynum has shared a bit of her soul. In the midst of her pain and suffering of cancer, she expresses hanging questions, lingering doubts, and uncertain futureswhat most people cannot easily verbalize. When she felt her worst, the verses came rumbling and tumbling out of her in the wee hours of the morning, calming the pain in the process. The poems were her ladder out of the hole. In times when she felt her faith and hope slipping, the poetry helped her look up, and there was God, always near. The power of the poems is that they were written in the midst of the pain, not afterward, looking back. Judiths ability to express herself will hopefully help a cancer victim who is struggling to find the right words. That in itself is powerful. Sharing her weaknesses and vulnerabilities is what makes these poems real. Often she offers a humorous view of the trials of cancer and the changes it wreaks on the body and spirit. There is no resignation or acquiescence in the words, both of which are seen often among those who are struggling; instead, there is acceptance and surrender. In the midst of her questions and pains, her faith shines through. This powerful book will inspire readers to remember that God is always near.
Written for everyone interested in women's and gender history, History Matters reaffirms the importance to feminist theory and activism of long-term historical perspectives. Judith M. Bennett, who has been commenting on developments in women's and gender history since the 1980s, argues that the achievement of a more feminist future relies on a rich, plausible, and well-informed knowledge of the past, and she asks her readers to consider what sorts of feminist history can best advance the struggles of the twenty-first century. Bennett takes as her central problem the growing chasm between feminism and history. Closely allied in the 1970s, each has now moved away from the other. Seeking to narrow this gap, Bennett proposes that feminist historians turn their attention to the intellectual challenges posed by the persistence of patriarchy. She posits a "patriarchal equilibrium" whereby, despite many changes in women's experiences over past centuries, women's status vis-à-vis that of men has remained remarkably unchanged. Although, for example, women today find employment in occupations unimaginable to medieval women, medieval and modern women have both encountered the same wage gap, earning on average only three-fourths of the wages earned by men. Bennett argues that the theoretical challenge posed by this patriarchal equilibrium will be best met by long-term historical perspectives that reach back well before the modern era. In chapters focused on women's work and lesbian sexuality, Bennett demonstrates the contemporary relevance of the distant past to feminist theory and politics. She concludes with a chapter that adds a new twist—the challenges of textbooks and classrooms—to viewing women's history from a distance and with feminist intent. A new manifesto, History Matters engages forthrightly with the challenges faced by feminist historians today. It argues for the radical potential of a history that is focused on feminist issues, aware of the distant past, attentive to continuities over time, and alert to the workings of patriarchal power.
Superb... Flanders's convincing and smart synthesis of the evolution of an official police force, fictional detectives, and real-life cause célèbres will appeal to devotees of true crime and detective fiction alike." -Publishers Weekly, starred review In this fascinating exploration of murder in nineteenth century England, Judith Flanders examines some of the most gripping cases that captivated the Victorians and gave rise to the first detective fiction Murder in the nineteenth century was rare. But murder as sensation and entertainment became ubiquitous, with cold-blooded killings transformed into novels, broadsides, ballads, opera, and melodrama-even into puppet shows and performing dog-acts. Detective fiction and the new police force developed in parallel, each imitating the other-the founders of Scotland Yard gave rise to Dickens's Inspector Bucket, the first fictional police detective, who in turn influenced Sherlock Holmes and, ultimately, even P.D. James and Patricia Cornwell. In this meticulously researched and engrossing book, Judith Flanders retells the gruesome stories of many different types of murder in Great Britain, both famous and obscure: from Greenacre, who transported his dismembered fiancée around town by omnibus, to Burke and Hare's bodysnatching business in Edinburgh; from the crimes (and myths) of Sweeney Todd and Jack the Ripper, to the tragedy of the murdered Marr family in London's East End. Through these stories of murder-from the brutal to the pathetic-Flanders builds a rich and multi-faceted portrait of Victorian society in Great Britain. With an irresistible cast of swindlers, forgers, and poisoners, the mad, the bad and the utterly dangerous, The Invention of Murder is both a mesmerizing tale of crime and punishment, and history at its most readable.
The science of mind has been plagued by intractable philosophical puzzles, chief among them the distortions of memory and the relation between mind and body. Sigmund Freud's clinical practice forced him to grapple with these problems, and out of that struggle psychoanalysis emerged. From Freud's Consulting Room charts the development of his ideas through his clinical work, the successes and failures of his most dramatic and significant case histories, and the creation of a discipline recognizably distinct from its neighbors. In Freud's encounters with hysterical patients, the mind-body problem could not be set aside. Through the cases of Anna O., Emmy von N., Elisabeth von R., Dora, and Little Hans, he rethought that problem, as Hughes demonstrates, in terms of psychosexuality. When he tried to sort out the value of memories, with Dora and Little Hans as well as with the Rat Man and the Wolf Man, Freud reintroduced psychosexuality and elaborated the Oedipus complex. Hughes also traces the evolution of Freud's conception of the analytic situation and of the centrality of transference, again through the clinical material, including the case of Freud himself, who at one point figured as his own "chief patient". Moving from case to case, Hughes has coaxed them into telling a coherent story. Her book has the texture of intellectual history and the compelling quality of a fascinating tale. It leads us to see the origins and development of psychoanalysis in a new way.
Every person who goes through the emotional and physical upheaval of cancer has a story. Most, however, do not write it down. In this remarkable collection of poems, Judith Bynum has shared a bit of her soul. In the midst of her pain and suffering of cancer, she expresses hanging questions, lingering doubts, and uncertain futureswhat most people cannot easily verbalize. When she felt her worst, the verses came rumbling and tumbling out of her in the wee hours of the morning, calming the pain in the process. The poems were her ladder out of the hole. In times when she felt her faith and hope slipping, the poetry helped her look up, and there was God, always near. The power of the poems is that they were written in the midst of the pain, not afterward, looking back. Judiths ability to express herself will hopefully help a cancer victim who is struggling to find the right words. That in itself is powerful. Sharing her weaknesses and vulnerabilities is what makes these poems real. Often she offers a humorous view of the trials of cancer and the changes it wreaks on the body and spirit. There is no resignation or acquiescence in the words, both of which are seen often among those who are struggling; instead, there is acceptance and surrender. In the midst of her questions and pains, her faith shines through. This powerful book will inspire readers to remember that God is always near.
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