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Acknowledgments | ||
Preface | ||
Introduction | ||
Art: Illustration, Comic Art | ||
Mary Hallock Foote: Angle of Repose | 3 | |
Black Folklore and Subversive Imagery: The Comic Illustrations of Rose O'Neill | 27 | |
Photography: Art, Ethnography, Ethnicity | ||
The Eye and the Story: The Photographs of Eudora Welty | 41 | |
Revisioning Landscape: Southwest Women Photographers | 49 | |
Pai kii and Pohaku: Photographic and Indigenous Values as Narratives of Change | 91 | |
Literature: Poetry and Place | ||
An Interview with Maxine Kumin | 105 | |
Red Earth: The Poetry of Alice Corbin Henderson | 115 | |
Bones Incandescent: Peggy Pond Church | 131 | |
Humor: Literary, Periodical, Political | ||
Marietta Holley: The Humorist as Propagandist | 149 | |
Comic Columnists Since the Civil War: Evolutions in the Vernacular Voice | 159 | |
Emily Dickinson's Crackerbox Humor | 173 | |
The Widow Bedott Meets Samantha Allen: The Role of Female Humorists | 183 | |
Popular Culture: Vocation and Identity | ||
Frances Bullock Workman: Early Feminist Mountain Climber | 221 | |
Rawhide Heroines: Perspectives on Popular Culture Heroines | 227 | |
The Lady as Jock: Evolution of the Woman Athlete | 247 | |
Violence as Liberation: Belle Starr, Bandit Heroine | 265 | |
Letters and Autobiography: The Nature of Nature | ||
Mary Austin: Writing Nature | 273 | |
The Correspondence of May Sarton and Peggy Pond Church | 301 |
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