By Maureen Honey
The New Woman-an self reliant, nontraditional, frequently career-minded lady for whom marriage and family members have been secondary-became a favored heroine in women’s journal fiction from the time of global conflict I in the course of the Twenties. in this interval, American tradition entertained a brand new, feminist imaginative and prescient of gender roles that helped pave the way in which for contemporary photographs of ladies in public task. The tales during this assortment are drawn from the largest periodicals of the day-Ladies’ domestic magazine, Cosmopolitan, strong house responsibilities, Woman’s domestic better half, and McCall’s-as good because the African-American journal The situation. every one tale is rooted in a few size of latest feminism and explores a subject matter of continuous significance, equivalent to team spirit between ladies, the lives of ladies of colour and working-class girls, sexual harassment, lesbian love, family members and marital bonds, and women’s relation to paid employment.
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Additional resources for Breaking the Ties That Bind: Popular Stories of the New Woman, 1915-1930
Title : Breaking the Ties That Bind : Popular Stories of the New Woman, 1915-1930 author : Honey, Maureen publisher : University of Oklahoma Press isbn10 | asin : 0806130342 print isbn13 : 9780806130347 ebook isbn13 : 9780806171050 language : English subject Feminism--United States--Fiction, United States--Social life and customs--20th century--Fiction, Women's rights--United States--Fiction, Short stories, American--Women authors, American fiction--20th century, Women--United States--Fiction. 01089287/09042 subject : Feminism--United States--Fiction, United States--Social life and customs--20th century--Fiction, Women's rights--United States--Fiction, Short stories, American--Women authors, American fiction--20th century, Women--United States--Fiction.
To become comfortable with it, then, was one way a heroine could challenge gen- Page 14 der restrictions as well as move nearer to an emerging industrial landscape. Dorothy Eades does both in "Shelter" (1916). Part of an on-going series about eight modern young women in the vaguely placed town of Chiltern, this story follows Dorothy's attempt to make a living at a time when women of her class were expected to marry and be supported by a husband. Metaphorically freeing Dorothy from these values, the town and her father's house have been destroyed by a catastrophic fire, and the patriarchal head of the Eades family loses his job as a result.
59 "The Sleeper Wakes" (1920) provides a revealing contrast to the other New Woman stories of Jessie Fauset's time, for it features a nonwhite heroine who shares some typical charac- Page 24 teristics of the dominant culture figure. Amy Kildare has left a traditionally run home to make a career for herself in New York City, where she is befriended by a bohemian white artist, Zora, and supports herself as a fashion designer. Although Fauset uses the motif of an adventurous artistic young woman searching for life experience in the big city, she quickly entwines the focus of this standard plot, gender conflict, with issues of racism.
Breaking the Ties That Bind: Popular Stories of the New Woman, 1915-1930 by Maureen Honey