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When Pocahontas, America's first "ethnic" heroine, laid her head over John Smith's to save him from her father, she also unknowingly lay down certain themes that would permeate America's female ethnic literary tradition and culture from that moment on. Using the figure of Pocahontas as a representative symbol or story in the American cultural imagination, this is the first study to examine American women's fiction—from Our Nig by Mrs. H.E.W. Wilson, the first novel by a black woman, to the writings of Anzia Yezierska, Gertrude Stein, and Toni Morrison—in terms of gender and ethnicity, terms that Dearborn finds essential to our understanding of American culture.
Pocahontas left no "authentic" written record of herself, a fact that Dearborn uses to launch her wide-ranging discussion of the problems of authenticity, authority, and genre that plague the ethnic female literary tradition. She then goes on to consider the various elements of the Pocahontas story, such as generational conflict, renunciation of one's ethnic origins, and intermarriage, that resurface in American women's fiction as dominant ethnic themes in American culture. Finally, Dearborn suggests that American women writers, in taking ethnicity as an integral part of the American identity, can perhaps best portray what it has meant to be a woman and an outsider in American culture.
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Adam Miller
reviewed Pocahontas's daughters on December 05, 2020
Pocahontas's daughters
This landmark 1992 book, edited by Krentz, is for all those people wishing to understand why women read romance. There are several good discussions here and one can learn (or reminisce) about the advancement of this genre of past authoresses through analyses and debates of various essayists. However, IMHO, the best line in the book comes from Daphne Clair in her submission of 'Sweet Subversions'.
Half a century later, in the very teeth of women's liberation, Kathleen Woodiwiss's The Flame and the Flower and Rosemary Rogers's Sweet Savage Love generated a flood of immensely successful rape-romances that enraged feminists, created guilt in many avid readers, and were cited as perpetuating the notion that women really do like being forced. (We might assume then that men, major consumers of thrillers, westerns, and detective fiction, enjoy being beaten up, tortured, shot, stabbed dragged by galloping horses, and thrown out of moving vehicles.)
That last line was so good I had to e-mailed it to my sister-in-law when I informed her that romances, with its ever expanding sub-genres, comprise 55% of the current paperback market. I don't favor rape scenes in my romance books, I think because I identify too much with the heroines, and I have no desire to re-read Sweet Savage Love. However, there are notable exceptions where the author is so talented she can pull it off (as I mentioned in in my review of The English Heiress by Roberta Gellis). But, alas, now fortified with Ms. Clair's words, I no longer have to feel guilty for having that awfully embarrassing wonderful 'bodice-ripper' The Flame and the Flower on my 'all-time-favorites' bookshelf. What an enormous relief! :-)
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Add Pocahontas's daughters, When Pocahontas, America's first ethnic heroine, laid her head over John Smith's to save him from her father, she also unknowingly lay down certain themes that would permeate America's female ethnic literary tradition and culture from that moment on. Us, Pocahontas's daughters to the inventory that you are selling on WonderClubX
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Add Pocahontas's daughters, When Pocahontas, America's first ethnic heroine, laid her head over John Smith's to save him from her father, she also unknowingly lay down certain themes that would permeate America's female ethnic literary tradition and culture from that moment on. Us, Pocahontas's daughters to your collection on WonderClub |
