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Out on Assignmentilluminates the lives and writings of a lost world of women who wrote for major metropolitan newspapers at the start of the twentieth century. Using extraordinary archival research, Alice Fahs unearths a richly networked community of female journalists drawn by the hundreds to major cities--especially New York--from all parts of the United States.Newspaper women were part of a wave of women seeking new, independent, urban lives, but they struggled to obtain the newspaper work of their dreams. Although some female journalists embraced more adventurous reporting, including stunt work and undercover assignments, many were relegated to the women's page. However, these intrepid female journalists made the women's page their own. Fahs reveals how their writings--including celebrity interviews, witty sketches of urban life, celebrations of being \"bachelor girls,\" advice columns, and a campaign in support of suffrage--had far-reaching implications for the creation of new, modern public spaces for American women at the turn of the century. As observers and actors in a new drama of independent urban life, newspaper women used the simultaneously liberating and exploitative nature of their work, Fahs argues, to demonstrate the power of a public voice, both individually and collectively.

This unique collection of extracts is taken from women's journals and magazines - both British and American - on the eve of the twentieth century. Arranged by subject, the collection focuses on what this pivotal moment represented for women and includes an introduction to women's journalism of the period. The rapidly changing conditions then surrounding a woman's world are illustrated here by sections on: * monarchy * women and war * colonial women * the politics of emancipation * and girlhood.

Women and Journalism offers a rich and comprehensive analysis of the roles, status and experiences of women journalists in the United States and Britain. Drawing on a variety of sources and dealing with a host of women journalists ranging from nineteenth century pioneers to Martha Gellhorn, Kate Adie and Veronica Guerin, the authors investigate the challenges women have faced in their struggle to establish reputations as professionals. This book provides an account of the gendered structuring of journalism in print, radio and television and speculates about women's still-emerging role in online journalism. Their accomplishments as war correspondents are tracked to the present, including a study of the role they played post-September 11th.

This volume concentrates on the study and efforts of women and minority men to gain respect and parity in journalism and mass communication, and focuses on trends over the past three decades. Contributions to the volume provide a history of the equity efforts and offer updates on equity in the academy and in the professions. Theoretical and international perspectives on equity are also included, as are the concerns about equity from the new generations now coming into the profession. This anthology serves as a benchmark of women's current status in journalism and mass communication and provides a call to action for the future. As such, it is required reading for all concerned with establishing equity throughout the discipline.

In 1970, ABC, CBS, and NBC--the \"Big Three\" of the pre-cable television era--discovered the feminist movement. From the famed sit-in at Ladies Home Journal to multi-part feature stories on the movement's ideas and leaders, nightly news broadcasts covered feminism more than in any year before or since, bringing women's liberation into American homes. In Watching Women's Liberation, 1970: Feminism's Pivotal Year on the Network News , Bonnie J. Dow uses case studies of key media events to delve into the ways national TV news mediated the emergence of feminism's second wave. First legitimized as a big story by print media, the feminist movement gained broadcast attention as the networks eagerness to get in on the action was accompanied by feminists efforts to use national media for their own purposes. Dow chronicles the conditions that precipitated feminism's new visibility and analyzes the verbal and visual strategies of broadcast news discourses that tried to make sense of the movement. Groundbreaking and packed with detail, Watching Women's Liberation, 1970 shows how feminism went mainstream--and what it gained and lost on the way.

Food blogs are everywhere today but for generations, information and opinions about food were found in the food sections of newspapers in communities large and small. Until the early 1970s, these sections were housed in the women’s pages of newspapers—where women could hold an authoritative voice. The food editors—often a mix of trained journalist and home economist—reported on everything from nutrition news to features on the new chef in town. They wrote recipes and solicited ideas from readers. The sections reflected the trends of the time and the cooks of the community. The editors were local celebrities, judging cooking contests and getting calls at home about how to prepare a Thanksgiving turkey. They were consumer advocates and reporters for food safety and nutrition. They helped make James Beard and Julia Child household names as the editors wrote about their television appearances and reviewed their cookbooks. These food editors laid the foundation for the food community that Nora Ephron described in her classic 1968 essay, “The Food Establishment,” and eventually led to the food communities of today. Included in the chapters are profiles of such food editors as Jane Nickerson, Jeanne Voltz, and Ruth Ellen Church, who were unheralded pioneers in the field, as well as Cecily Brownstone, Poppy Cannon, and Clementine Paddleford, who are well known today; an analysis of their work demonstrates changes in the country’s culinary history. The book concludes with a look at how the women’s pages folded at the same time that home economics saw its field transformed and with thoughts about the foundation that these women laid for the food journalism of today.

Smart women, sophisticated ladies, savvy writers. . . Edna St. Vincent Millay, Dorothy Parker, Anita Loos, Lois Long, Jessie Fauset, Dawn Powell, Mary McCarthy, and others imagined New York as a place where they could claim professional status, define urban independence, and shrug off confining feminine roles. It might be said that during the 1920s and 1930s these literary artists painted the town red on the pages of magazines likeVanity Fairand theNew Yorker.Playing Smart, Catherine Keyser's homage to their literary genius, is a captivating celebration of their causes and careers.Through humor writing, this \"smart set\" expressed both sides of the story-promoting their urbanity and wit while using irony and caricature to challenge feminine stereotypes. Their fiction raised questions about what it meant to be a woman in the public eye, how gender roles would change because men and women were working together, and how the growth of the magazine industry would affect women's relationships to their bodies and minds. Keyser provides a refreshing and informative chronicle, saluting the value of being \"smart\" as incisive and innovative humor showed off the wit and talent of women writers and satirized the fantasy world created by magazines.

[...]in reality, she asserted, women \"are able to write frankly and freely about only two things: clothing and love.\" [...]there are no women in American newspapers who are city editors, managers, or editorial writers.\" Though she only published one volume of poems, she has come to be seen in retrospect as one of the most important Yiddish poets. Because of this, most of the scholarship related to Lebensboym centers on this aspect of her work.5 But for most of her life, she made her living as a journalist—writing, editing, and translating articles for a variety of newspapers. In this book, Iceland recounted his experiences as a poet and journalist, and vividly described the circle of writers and intellectuals of which he was a part. Because she was his long-term romantic and intellectual partner, and because of her fame as a poet, Iceland devoted significant attention to Lebensboym in his memoir. According to him, the periodical's editor, Shoel Yanovsky, was so taken with these stories that he asked to meet with her, both to invite her to continue contributing to the

This project contributes to our understanding of rural Midwesterners and farm newspapers at the turn of the century. While cultural historians have mainly focused on readers in town and cities, it examines Midwestern farmers. It also contributes to the \"new rural history\" by exploring the ideas of Hal Barron and others that country people selectively adapted the advice given to them by reformers. Finally, it furthers our understanding of American farm newspapers themselves and offers suggestions on how to use them as sources.

In Left of Karl Marx, Carole Boyce Davies assesses the activism, writing, and legacy of Claudia Jones (1915–1964), a pioneering Afro-Caribbean radical intellectual, dedicated communist, and feminist. Jones is buried in London's Highgate Cemetery, to the left of Karl Marx—a location that Boyce Davies finds fitting given how Jones expanded Marxism-Leninism to incorporate gender and race in her political critique and activism. Claudia Cumberbatch Jones was born in Trinidad. In 1924, she moved to New York, where she lived for the next thirty years. She was active in the Communist Party from her early twenties onward. A talented writer and speaker, she traveled throughout the United States lecturing and organizing. In the early 1950s, she wrote a well-known column, \"Half the World,\" for the Daily Worker. As the U.S. government intensified its efforts to prosecute communists, Jones was arrested several times. She served nearly a year in a U.S. prison before being deported and given asylum by Great Britain in 1955. There she founded The West Indian Gazette and Afro-Asian Caribbean News and the Caribbean Carnival, an annual London festival that continues today as the Notting Hill Carnival. Boyce Davies examines Jones's thought and journalism, her political and community organizing, and poetry that the activist wrote while she was imprisoned. Looking at the contents of the FBI file on Jones, Boyce Davies contrasts Jones's own narration of her life with the federal government's. Left of Karl Marx establishes Jones as a significant figure within Caribbean intellectual traditions, black U.S. feminism, and the history of communism.