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eBook Passionate Minds: Women Rewriting the World ePub

eBook Passionate Minds: Women Rewriting the World ePub

by Claudia Roth Pierpont

  • ISBN: 0679431063
  • Category: History and Criticism
  • Subcategory: Literature
  • Author: Claudia Roth Pierpont
  • Language: English
  • Publisher: Knopf; 1st edition (March 7, 2000)
  • Pages: 320
  • ePub book: 1553 kb
  • Fb2 book: 1581 kb
  • Other: lrf mobi doc azw
  • Rating: 4.9
  • Votes: 189

Description

A woman's place: Olive Schreiner - The mother of confusion: Gertrude Stein - Sex, lies, and thirty-five thousand pages: Anaïs Nin - The strong woman: Mae West - A study in scarlett: Margaret Mitchell - A society of one: Zora Neale Hurston - A perfect lady: Eudora Welty - The rage of Aphrodite: Marina. Tsvetaeva - Twilight of the Goddess, Ayn Rand - Memoirs of a revolutionary: Doris Lessing - Hearts and minds: Hannah Arendt and Mary McCarthy.

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Claudia Roth Pierpont is a writer and journalist. She has been a contributor to The New Yorker since 1990 and became a staff writer in 2004. Her subjects have included Friedrich Nietzsche, Katharine Hepburn, Mae West, Orson Welles, the Ballets Russes and the Chrysler Building. A collection of eleven of Pierpont’s New Yorker essays, Passionate Minds: Women Rewriting the World, was published in 2000.

Claudia Roth Pierpont (Author).

Claudia Roth Pierpont, a contributor to The New Yorker since 1990, has received a Whiting Writer's Award and a Guggenheim Fellowship. in Italian Renaissance art history from New York University. She lives in New York City. Библиографические данные. Passionate minds: women rewriting the world. Claudia Roth Pierpont. Издание: иллюстрированное.

In Passionate Minds, Claudia Roth Pierpont lifts several artists out of their hagiographical limbo and eases others (even Mae West and Margaret Mitchell) away from. With a masterful ability to connect their social contexts to well-chosen and telling details of their personal lives, Claudia Roth Pierpont gives us portraits of twelve amazingly diverse and influential literary women of the twentieth century, women who remade themselves and the world through their art.

Pierpont explores the biographies and literary achievements of 10 diverse women in chapters which were .

Pierpont explores the biographies and literary achievements of 10 diverse women in chapters which were originally published in the New Yorker. Some of the stories are well known, but Pierpont illuminates them in a clever weaving of biography with literary criticism, politics and cultural history.

Passionate Minds: Women Rewriting the World by Claudia Roth Pierpont. amazingly diverse and influential literary women of the twentieth century, women who remade themselves and the world through their art. English March 7, 2000 ISBN: 0679431063, 0679751130 EPUB 320 pages . MB.

Women Rewriting the World. About Passionate Minds. Women Rewriting the World. By Claudia Roth Pierpont. Category: Arts & Entertainment Biographies & Memoirs Literary Figure Biographies & Memoirs Literary Collections.

Additional Product Features. Claudia Roth Pierpoint. Place of Publication.

item 3 Passionate Minds: Women Rewriting the World (Vintage), Pierpont, Claudia Roth, U -Passionate Minds: Women Rewriting the World (Vintage), Pierpont, Claudia Roth, U. £. 2. by Pierpont, Claudia Ro Paperback. Additional Product Features.

A series of extraordinary explorations of the biographies and literary achievements of twelve modern women writers, Passionate Minds tells the stories of women who "rewrote" the world that they inherited, shaping beliefs about vital issues ranging from religion to sex to race to politics. Claudia Roth Pierpont organizes these probing portraits into three sections. Broadly speaking, the first deals with issues of sexual freedom, in essays on Olive Schreiner, Gertrude Stein, Anaïs Nin, and -- surprisingly, for those who do not know her as a writer -- Mae West. The second section, which examines Margaret Mitchell, Zora Neale Hurston, and Eudora Welty, deals with issues of race and the American South during a period of wrenching change and retrenchment. The third focuses on politics, particularly on the experience and historical interpretation of Soviet Communism and Nazi Germany: the Russian poet Marina Tsvetaeva, Ayn Rand, Doris Lessing, and, in a dual essay that is also a moving account of an enduring friendship, Hannah Arendt and Mary McCarthy. Throughout, Pierpont anatomizes both the lives and the art of her subjects and suggests their roles in the progress -- if it has been progress -- that has taken place in the attitudes of women over the course of the century. Individually published in The New Yorker during the past eight years, these essays -- brought together in revised and expanded form, and containing ample new material -- reveal unsuspected parallels, contrasts, and influences among the twelve women discussed, illuminating each of them in new and startling ways.

Comments

Zugar Zugar
I read this book when it was first published in 2000 and recently re-read it, curious to know how relevant Claudia Roth Pierpont's material is eighteen years later. My conclusion? If anything they are even more relevant now than they were then.

She focuses on twelve exceptional women whose writings were created by a "passionate mind." That is, however different they were in most respects, all of them embraced their own version of what they viewed as "absolute truth." Moreover, "similarities began to emerge, not in what these women wrote but in how they contrived to get it written; that is, in how ambitious women worked out their destinies in an age of momentous transition for their sex, when -- to paraphrase Olive Schreiner on religious faith -- the old ways seemed outworn but new ones had not been invented." (Page xii).

The writers of greatest interest to me are three about whom I knew little (if anything)  previously: Schreiner, Zora Neil Hurston, and Marina Tsvetaeva. Briefly, thanks to Wikibios, Schreiner (1855-1920) was a South African author, anti-war campaigner and intellectual. She is best remembered today for her novel The Story of an African Farm which has been highly acclaimed since its first publication in 1883 for the bold manner in which it deals with some of the burning issues of the day, including agnosticism, existential independence, individualism, the professional aspirations of women, and the elemental nature of life on the colonial frontier. In more recent studies she has also been identified as an advocate for those sidelined by the forces of British Imperialism, such as the Afrikaners, and later other South African groups like Blacks, Jews and Indians – to name but a few.

According to Pierpont, "Olive Schreiner saw herself, toward the end of her life, as equally important -- as an example -- in failure and in success. She knew that she suffered the ills and dissatisfactions of a 'transitory condition, her own and society's, and she consoled herself with Browning's 'What I aspired to be and was not, comforts me.'"

Hurston (1891-1960) was an influential author of African American literature and anthropologist, who portrayed racial struggles in the early 20th century American South, and published research on Haitian voodoo. Of Hurston's four novels and more than 50 published short stories, plays, and essays, her most popular is the 1937 novel Their Eyes Were Watching God. Hurston was born in Notasulga, Alabama, and moved to Eatonville, Florida,  with her family in 1894. Eatonville would become the setting for many of her stories and is now the site of the Zora! Festival, held each year in Hurston's honor. In her early career, Hurston conducted anthropological and ethnographic research while attending Barnard College. While in New York she became a central figure of the Harlem Renaissance.

According to Pierpont, "There is the sense of a long procession behind Hurston: what might have existed if only more of the words and stories had been written down decades earlier...she had to try to make up for all of this, and more. If out if broken bits of talk and memory she pieced together something that may once have existed, out of will and desire she added what never was. Hurston had created a myth that has been gratefully mistaken for history, and in which she herself plays a nythic role -- a myth about a time and place fair enough, funnyenougfh, unbitter enough, glad enough to have produced a woman black and truly free."

With regard to Tsvetaeva (1892-1944), she was a Russian and Soviet poet. Her work is considered among some of the greatest in twentieth century Russian literature. She lived through and wrote of the Russian Revolution of 1917 and the Moscow famine that followed it. In an attempt to save her daughter Irina from starvation, she placed her in a state orphanage in 1919, where she died of hunger. Tsvetaeva left Russia in 1922 and lived with her family in increasing poverty in Paris, Berlin and Prague before returning to Moscow in 1939. Her husband Seregei Efron and her daughter Ariadna Efron (Alya) were arrested on espionage charges in 1941; and her husband was executed. Tsvetaeva committed suicide in 1941.

According to Pierpont, "The revival of Tsvetaeva's literary fortunes offers little by way of political instruction, except in her aspirations beyond all ideology and pub,iic poses; her victory is in the intense, womanly privacy of the poems themselves. Yet even deprived of the full force of her poetry, awaiting the translator who will reimagine her powers for English readers. Tsvetaeva ∂raws us deep into her presiding myths, her life as large and unnerving and painfully exalted as the lives of the Phaedras and Ariadnes for whom she tried to speak."

Frankly, when I first read this book, I did not fully appreciate the scope and depth of compelling human experience that Pierpont shares. When I re-read it years later, Passionate Minds was both a window and a mirror, revealing so much of enduring value in others' lives while enabling me to recognize what I share in common with each of them, even with Mae West!

I highly recommend this book to young women in schools, colleges, and universities. These twelve women can be among the anchors and sails you will often need. I also recommend it to all men who have women among their direct reports. Thank you, Claudia Roth Pierpont. I wish we could co-host a fantasy dinner party limited to the twelve. If there's room for three more, let's include Elaine May, Flannery O'Connor, and Virginia Woolf.
artman artman
What a pleasure to read essays of such distinction! C. R. Pierpont deftly weaves history and biography into her literary judgments and the results are always fascinating and fresh. I couldn't put this book down; more importantly, it sent me running to the authors she studies. (Well, most of the authors; nothing could ever make me slog through Ayn Rand.) Each essay is a jewel of taste, style, and balance. I can't recommend this book highly enough and am sending copies to all my friends!
Usic Usic
did not disappoint. clear and nice format. liked the subjects she chose. was recommended to me since I am interested in women trailblazers
Alsalar Alsalar
Utterly fascinating book.
Morlunn Morlunn
Exhaustively researched and knowledgeably sifted, Passionate Minds: Women Rewriting the World is an incisively engaging work that exhilarates the mind while also extending beyound the mere bland categorization of 'biography' and 'women's studies,' for it stretches quite easily into other academic dimensions: sociology, psychology, history and economics; it is a work that is more than what it is promoted to be. Pierpont's succinct yet smooth academic prose is honed and streamlined; excess language and descriptive clutter is cast aside, and only the germane pith, the be-all and end-all, is critically dissected. Writing is a soul-searching craft-that more often than not-offers an intellectual and spiritual cartharsis. It is a powerful talent (one of many) by which many positive changes can be enacted, for when asked why they do what they do, writers, broadly speaking, would never hesitate to say, "The pen is mightier than the sword." The twelve writers, authors in Passionate Minds would have used the above-in varying degrees-as a life philosophy. From Hannah Arendt and Ayn Rand to Olive Schreiner and Marina Tsvetaeva, the lives profiled were not of simple women who 'slothfully' mused over global issues and then did nothing about them. The concerns, though mostly relegated to a specific gender, nonetheless, addressed all of humanity. Economic equality and intellectual stimulation, rather than artistic expression, would be at the top of the pyramid in this case. The broader essence of the book is how a person or persons broaches a subject that is of pressing concern to him or herself. What tools could and can be used to rectify specific areas that have long ago been ignored or deemed too weighty in intensity to even approach? In Ayn Rand's case, could it be done through collectivism or individualism? For Hannah Arendt and Mary McCarthy especially, collectivism would tower, the two probably being the modernized propellant of the literati activist, now being emulated. But the one thing that linked all these women was the printed word, printed utterances that came in the form of essays, novels, plays, journalism, poetry. These were the weapons of transformation (see Mae West, Doris Lessing, Anais Nin), racial exploration (see Zora Neale Hurston, Margaret Mitchell) and onward. What is remarkable about these lives is that they either rose from abject poverty and anguish or dived headlong into it in order to write, to do something that had a greater and profound good that was not yet visible to the masses: "I write for thee/I suffer privately/ And glory comes when I am gone..." These writers had battle scars from sacrifice. And the improvement is so little.
Dddasuk Dddasuk
I read all these pieces when they first appeared, and couldn't wait to read them all again. All are revised, and several are expanded significantly. Pierpont has a way of combining "life," "works" and "social context" so that they all speak effortlessly of one another. If all critics had her perceptiveness, sympathy and wit, arguments would never have sprung up about what is and isn't relevant to the appreciation of a writer; she makes it all completely natural, while at the same time telling you things you never thought of for yourself.
Kann Kann
Thank God for collections----I missed some of these pieces upon their first appearence in The New Yorker, and they're all fascinating and well written. Pierpont combines the skills of essayist, biographer/profiler, and critic with assurance and wit. It's hard to praise this book too highly. Here's hoping she comes out with another collection in this vein before too long.