Ardent stories of female self-empowerment from all corners of the art world.
Five captivating tales of women as both artist and muse.
An accomplished journalist (Another Day in Paradise: International Humanitarian Workers Tell Their Stories, 2003), short-story writer, memoirist (Searching for Fritzi, 1999), biographer and NYU writing instructor, Bergman is no stranger to capturing the unique alchemy that makes a character come to life. Here, she collects stories depicting strong women coming into their own, whether as artists—King Tut’s mother Tia, Maria Izquierdo—or in their relation to famous male painters of their day—Gustav Klimt, Marc Chagall, John Singer Sargent. With the exception of "When I See Her,” set in ancient Egypt, these refreshingly feminist tales explore challenges faced by late-19th and early-20th-century women attempting to break from the persistent Victorian role as "Angel in the House.” The title story follows the trapped life of the beautiful Anna Glass, whose husband offers her favors to Emperor Franz Joseph; Glass decides to sit for the philandering emperor’s great rival Klimt in hopes of turning the emperor’s attentions away from her by seducing the artist, but much strife ensues in this tragic tale from war-torn Austria. "Lovers in Blue & Green” traces friendship against all odds, in the story of Marc Chagall and his wife’s move from Russia to Paris to New York as they and their Jewish friends flee Nazi-ravaged Europe. The worlds of art and politics also collide in “Three Women,” in which Maria Izquierdo recalls the hard-won artistic triumphs of her Mexican triumvirate with Lola Ãlvarez Bravo and Frida Kahlo, here movingly described in her last days as “translucent, she was a bulb shining through a shade.” The most fully developed story, "In Full Sail,” places Victorian conventions squarely on the block, when a budding artist who befriends Sargent must acknowledge and embrace her own values as she encounters both his homosexuality and the shifting topography of the modernist art scene.
Ardent stories of female self-empowerment from all corners of the art world.Pub Date: Nov. 29, 2006
ISBN: 978-0-595-40382-0
Page Count: 162
Publisher: iUniverse
Review Posted Online: May 23, 2010
Review Program: Kirkus Indie
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
