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

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With humor and insight, Straub creates a family worth rooting for.


When Astrid Strick witnesses a school bus run over a longtime acquaintance of hers—Barbara Baker, a woman she doesn't like very much—it's only the beginning of the shake-ups to come in her life and the lives of those she loves.

Astrid has been tootling along contentedly in the Hudson Valley town of Clapham, New York, a 68-year-old widow with three grown children. After many years of singlehood since her husband died, she's been quietly seeing Birdie Gonzalez, her hairdresser, for the past two years, and after Barbara's death she determines to tell her children about the relationship: "There was no time to waste, not in this life. There were always more school buses." Elliot, her oldest, who's in real estate, lives in Clapham with his wife, Wendy, who's Chinese American, and their twins toddlers, Aidan and Zachary, who are "such hellions that only a fool would willingly ask for more." Astrid's daughter, Porter, owns a nearby farm producing artisanal goat cheese and has just gotten pregnant through a sperm bank while having an affair with her married high school boyfriend. Nicky, the youngest Strick, is disconcertingly famous for having appeared in an era-defining movie when he was younger and now lives in Brooklyn with his French wife, Juliette, and their daughter, Cecelia, who's being shipped up to live with Astrid for a while after her friend got mixed up with a pedophile she met online. As always, Straub (Modern Lovers, 2016, etc.) draws her characters warmly, making them appealing in their self-centeredness and generosity, their insecurity and hope. The cast is realistically diverse, though in most ways it's fairly superficial; the fact that Birdie is Latina or Porter's obstetrician is African American doesn't have much impact on the story or their characters. Cecelia's new friend, August, wants to make the transition to Robin; that storyline gets more attention, with the two middle schoolers supporting each other through challenging times. The Stricks worry about work, money, sex, and gossip; Straub has a sharp eye for her characters' foibles and the details of their liberal, upper-middle-class milieu.

With humor and insight, Straub creates a family worth rooting for.

Pub Date: May 5, 2020

ISBN: 978-1-59463-469-7

Page Count: 368

Publisher: Riverhead

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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A daring concept not so daringly developed.


In Kidd’s (The Invention of Wings, 2014, etc.) feminist take on the New Testament, Jesus has a wife whose fondest longing is to write.

Ana is the daughter of Matthias, head scribe to Herod Antipas, tetrarch of Galilee. She demonstrates an exceptional aptitude for writing, and Matthias, for a time, indulges her with reed pens, papyri, and other 16 C.E. office supplies. Her mother disapproves, but her aunt, Yaltha, mentors Ana in the ways of the enlightened women of Alexandria, from whence Yaltha, suspected of murdering her brutal husband, was exiled years before. Yaltha was also forced to give up her daughter, Chaya, for adoption. As Ana reaches puberty, parental tolerance of her nonconformity wanes, outweighed by the imperative to marry her off. Her adopted brother, Judas—yes, that Judas—is soon disowned for his nonconformity—plotting against Antipas. On the very day Ana, age 14, meets her prospective betrothed, the repellent Nathanial, in the town market, she also encounters Jesus, a young tradesman, to whom she’s instantly drawn. Their connection deepens after she encounters Jesus in the cave where she is concealing her writings about oppressed women. When Nathanial dies after his betrothal to Ana but before their marriage, Ana is shunned for insufficiently mourning him—and after refusing to become Antipas’ concubine, she is about to be stoned until Jesus defuses the situation with that famous admonition. She marries Jesus and moves into his widowed mother’s humble compound in Nazareth, accompanied by Yaltha. There, poverty, not sexism, prohibits her from continuing her writing—office supplies are expensive. Kidd skirts the issue of miracles, portraying Jesus as a fully human and, for the period, accepting husband—after a stillbirth, he condones Ana’s practice of herbal birth control. A structural problem is posed when Jesus’ active ministry begins—what will Ana’s role be? Problem avoided when, notified by Judas that Antipas is seeking her arrest, she and Yaltha journey to Alexandria in search of Chaya. In addition to depriving her of the opportunity to write the first and only contemporaneous gospel, removing Ana from the main action destroys the novel’s momentum.

A daring concept not so daringly developed.

Pub Date: April 21, 2020

ISBN: 978-0-525-42976-0

Page Count: 432

Publisher: Viking

Review Posted Online: Jan. 27, 2020

Kirkus Reviews Issue: Feb. 15, 2020

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