Honorable Mention for the Robert K. Martin Prize 2019 Media portrayals of Orthodox Jewish women frequently depict powerless, silent individuals who are at best naive to live an Orthodox lifestyle, and who are at worst, coerced into it. Karen E. H. Skinazi delves beyond this stereotype in Women of Valor to identify a powerful tradition of feminist literary portrayals of Orthodox women, often created by Orthodox women themselves. She examines Orthodox women as they appear in memoirs, comics, novels, and movies, and speaks with the authors, filmmakers, and musicians who create these representations. Throughout the work, Skinazi threads lines from the poem “Eshes Chayil,” the Biblical description of an Orthodox “Woman of Valor.” This proverb unites Orthodoxy and feminism in a complex relationship, where Orthodox women continuously question, challenge, and negotiate Orthodox and feminist values. Ultimately, these women create paths that unite their work, passions, and families under the framework of an “Eshes Chayil,” a woman who situates religious conviction within her own power.
The daughter of an English merchant father and Chinese mother, Winnifred Eaton (1875-1954) was a wildly popular fiction writer in her time. Born in Montreal, Eaton lived in Jamaica and several places in the United States before settling in Alberta. Her books, many of them published under the Japanese pseudonym Onoto Watanna, encompass the experiences of marginalized women in Canada, Jamaica, the United States, and a romantic, imagined Japan. Marion: The Story of an Artist's Model is Eaton's only book that explicitly deals with being "foreign" in Canada. The novel follows the life of "half-foreign" Marion Ascough - a character based on Eaton's own sister - while never identifying her "foreignness." Escaping the unrelenting racial discrimination her family endures in Quebec, Marion follows her dream of being an artist by moving to New York, where she becomes "Canadian" instead of ethnic - a more palatable foreignness. Having successfully stripped herself of her ethnicity, Marion continues to experience discrimination and objectification as a woman, failing as an artist and becoming an artist's model. Karen Skinazi's introduction to Eaton's fascinating narrative draws attention to the fact that although the novel uses many of the conventions of the "race secret" story, this time the secret is never revealed. This new edition of Marion: The Story of An Artist's Model brings back into print a compelling and sophisticated treasure of Asian Canadian/American fiction that offers a rare perspective on ethnicity, gender, and identity.
Honorable Mention for the Robert K. Martin Prize 2019 Media portrayals of Orthodox Jewish women frequently depict powerless, silent individuals who are at best naive to live an Orthodox lifestyle, and who are at worst, coerced into it. Karen E. H. Skinazi delves beyond this stereotype in Women of Valor to identify a powerful tradition of feminist literary portrayals of Orthodox women, often created by Orthodox women themselves. She examines Orthodox women as they appear in memoirs, comics, novels, and movies, and speaks with the authors, filmmakers, and musicians who create these representations. Throughout the work, Skinazi threads lines from the poem “Eshes Chayil,” the Biblical description of an Orthodox “Woman of Valor.” This proverb unites Orthodoxy and feminism in a complex relationship, where Orthodox women continuously question, challenge, and negotiate Orthodox and feminist values. Ultimately, these women create paths that unite their work, passions, and families under the framework of an “Eshes Chayil,” a woman who situates religious conviction within her own power.
The daughter of an English merchant father and Chinese mother, Winnifred Eaton (1875-1954) was a wildly popular fiction writer in her time. Born in Montreal, Eaton lived in Jamaica and several places in the United States before settling in Alberta. Her books, many of them published under the Japanese pseudonym Onoto Watanna, encompass the experiences of marginalized women in Canada, Jamaica, the United States, and a romantic, imagined Japan. Marion: The Story of an Artist's Model is Eaton's only book that explicitly deals with being "foreign" in Canada. The novel follows the life of "half-foreign" Marion Ascough - a character based on Eaton's own sister - while never identifying her "foreignness." Escaping the unrelenting racial discrimination her family endures in Quebec, Marion follows her dream of being an artist by moving to New York, where she becomes "Canadian" instead of ethnic - a more palatable foreignness. Having successfully stripped herself of her ethnicity, Marion continues to experience discrimination and objectification as a woman, failing as an artist and becoming an artist's model. Karen Skinazi's introduction to Eaton's fascinating narrative draws attention to the fact that although the novel uses many of the conventions of the "race secret" story, this time the secret is never revealed. This new edition of Marion: The Story of An Artist's Model brings back into print a compelling and sophisticated treasure of Asian Canadian/American fiction that offers a rare perspective on ethnicity, gender, and identity.
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