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Women's studies
special feature
Women's Studies Jean W. Farrington University of Pennsylvania
Ann Douglas, Elaine Showalter, Catherine Stimpson, Judith Bardwick, Adriene Rich, Phyllis Chesler, Annette Kotodny, Erica Jong, Susan Friedman, Lucy Lippard, and Wendy Martin: a veritable who's who in women's studies, this impressive list represents only a portion of the contributors and editorial board members of the journal, Women's Studies. Founded in 1972 by Wendy Martin, Women's Studies was one of the first, if not the first, journals of feminist scholarship. It is lively, well written, and offers a diversity of viewpoints. Choose any issue and you're sure to find something to tempt your palate. Much of the credit for WS's appeal and its consistently high quality certainly belongs to Wendy Martin, founder and editor. Having definite ideas as a child about what women can do, Ms. Martin's feminist consciousness first bloomed during her undergraduate years at Berkeley from 1958--62.1 When she came to Queens College in 1968 as an assistant professor, she began attending conferences and meetings on women, such as the Congress to Unite Women, which were held in the New York City area. F o r the first time she discovered women like herself who were serious about their work. From there it was a logical step to consider the need for a forum for writing and research about women. Through a colleague who was also on the board of Gordon and Breach, she contacted the publishers and sold the idea of a new journal. Thus, Women's Studies was born. Today it is still edited at Queens College (except for guest editing done at other institutions), and produced and printed in England. Women's Studies is a scholarly research journal with notes and references, but is it also much more than that. Each issue is a t e m p t i n g collection of serious articles, poetry, graphics, b o o k reviews, and occasional interviews. Less formidable looking than some journals with its simple splash of color breaking through the black on the cover, it is, nonethe-
less, well respected. A simple typeface is used and the writing is generally clear and direct; the references grouped together at the end make for an uncluttered page. Although interdisciplinary in nature ("a forum for the presentation of scholarship and criticism about women in the fields of literature, history, art, sociology, law, political science, economics, anthropology and the sciences"), Women's Studies definitely emphasizes literature and history. Articles in the fields of economics ("Women in the World of Work," by Laura T. Rohrlich and Ethel L. Vatter), the social sciences ("Sex-Role Boundaries and Resistance to Sex-Role Change," by David Tresemer and Joseph Pleck), and medicine ("Medical Women and Lady Midwives," by Jean Donnison) have appeared but are the exception. If anything, recent issues seem to indicate that WS is becoming more focused on literature, criticism, and the creative process. In the first five volumes, these women writers -- Sylvia Plath, Anais Nin, Doris Lessing, Susanna Rowson, Margaret Fuller, Louisa May Alcott, Katherine Mansfield, and Louise Bogan -- were the subject of at least one article each. In addition, one whole issue was devoted to a discussion of Virginia Woolf's work. Nonetheless, the contents of Women's Studies as a whole are diverse and a selective sampling of the articles would include the following: "Prescriptions for Penelope: Literature on Women's Obligations to Returning World War II Veterans," by Susan M. Hartman; "Why Women Don't Hunt: An Anthropologist Looks at the Origin of the Sexual Division of Labor in Society," by Marlene Dobkin DeRios; and "Mothers and Babies: The Wet Nurse and Her Employer in Mid-Nineteenth England," by Ann Roberts, a fascinating discussion of this phenomenon. It has been WS policy to be as flexible as possible in its approach and to be willing to take risks and be controversial. Consequently, the journal has no political stance or specific bias of its own. It aims to be eclectic and varied. Some SERIALS REVIEW
OCTOBER/DECEMBER 1979
9
art and artists books and bookmen dance and dancers films and filming music and musicians plays and players records and recording published monthly by hansom books P.O. Box 294 2 & 4 Old Pye Street London SWlP 2LR England a sample back issue o f a n y one title sent free on r e q u e s t
10
SERIALS REVIEW
OCTOBER/DECEMBER 1 9 7 9
of its early articles were path-breaking and formed the basis for books a n d work later; one example is Carolyn Heilbrun's work o n a n d r o g y n y , which was the subject of a special issue. It is the e d i t o r s ' opinion that by reading WS, one gets a preview of where the field of women's studies is going. In a d d i t i o n to the research articles, each issue of Women's Studies c o n t a i n s a mixture of poetry, photographs, drawings, b o o k reviews, a n d an occasional interview, and runs to about a h u n d r e d pages. The .poems and graphics are few in number, b u t well chosen. Often they relate to the rest of the contents, especially if it is a theme issue, and they serve to liven up the pages. Each issue usually includes one or two book reviews of the m o r e significant titles in the field, such as The Female Imagination b y Patricia Meyer Spacks. These are, however, somewhat lacking in currency (two 1975 books reviewed in a 1979 issue). Interviews with Eleanor Bergstein and Susan F r i e d m a n have appeared, as well as a conversation with Ann Sexton a n d Maxine Kumin. Other features include "Notes a b o u t C o n t r i b u t o r s , " ads for other women's publications, an editorial or i n t r o d u c t i o n to the issue, and commentary on w o m e n ' s studies as a discipline. A letters to the editor section, although n o t included, could, I think, be of interest. Contributors to WS i n c l u d e m a n y in the academic world, as well as freelance artists. Special t h e m e issues appear irregularly; examples are one on a n d r o g y n y , one on women's poetry, and the most recent issue (vol. 6, no. 2) devoted to "Mothers and Daughters in L i t e r a t u r e . " This last is indeed a rich issue with articles on the birth of the female artist, immigrant mothers on the works of their daughters, the Greek novels of Lilika Nakos, photographs of daughters at birth, and a bibliography of mothers and daughters i n literature. The latter, comprised of more than 150 entries, is divided into five sections ranging from autobiogr a p h y / b i o g r a p h y and fiction to interdisciplinary background. It is sure to be of use to teachers of women's literature courses. W o m e n ' s studies as an academic discipline is still in its infancy and is still defining itself.One of the valuable features of the journal, Women's Studies, is its inclusion of articles on the problems and concerns of women's studies. Specific articles include "Feminist Criticism in the Classroom, or What D o Y o u M e a n We, White Man?", "Faculty Reaction to Women's Studies," and "Women's Studies: Problems in Research," by W e n d y Martin and Mary Louise Briscoe. Manuscripts for W S m a y be submitted or solicited. Submitted ones are generally read by three reviewers (usually m e m b e r s of the editorial board) and the acceptance rate is a selective I0 to 15 percent. In its first five years, Women's Studies has put together a stellar cast of contributors. The issues are a joy to read, always stimulating and thought provoking. T h e journal is definitely a must for almost all library collections. The fact that it is indexed in so m a n y places makes it invaluable for research. Along with Signs and Feminist Studies, Women's Studies is one of the key journals in this new, b u r g e o n i n g field.
Jean W. Farrington NOTES 1.
Author's telephone conservation with Wendy Martin, May 9, 1979.
Women's Studies. 1 9 7 2 - . 3/yr. $17.00/individuals; $51.50/ institutions. G o r d o n and Breach Science Publishers, 42 William IV Street, L o n d o n WC2, England. Editor: Wendy Martin. circ. 1,500. I n d e x e d : Arts & Humanities Citation Index; Amer.Hist. & Life; M.L.A. ; Wom.Stud.Abstr. LC 74-641303. ISSN 0 0 4 9 7878.
Women's Studies Jean W. Farrington University of Pennsylvania
Ann Douglas, Elaine Showalter, Catherine Stimpson, Judith Bardwick, Adriene Rich, Phyllis Chesler, Annette Kotodny, Erica Jong, Susan Friedman, Lucy Lippard, and Wendy Martin: a veritable who's who in women's studies, this impressive list represents only a portion of the contributors and editorial board members of the journal, Women's Studies. Founded in 1972 by Wendy Martin, Women's Studies was one of the first, if not the first, journals of feminist scholarship. It is lively, well written, and offers a diversity of viewpoints. Choose any issue and you're sure to find something to tempt your palate. Much of the credit for WS's appeal and its consistently high quality certainly belongs to Wendy Martin, founder and editor. Having definite ideas as a child about what women can do, Ms. Martin's feminist consciousness first bloomed during her undergraduate years at Berkeley from 1958--62.1 When she came to Queens College in 1968 as an assistant professor, she began attending conferences and meetings on women, such as the Congress to Unite Women, which were held in the New York City area. F o r the first time she discovered women like herself who were serious about their work. From there it was a logical step to consider the need for a forum for writing and research about women. Through a colleague who was also on the board of Gordon and Breach, she contacted the publishers and sold the idea of a new journal. Thus, Women's Studies was born. Today it is still edited at Queens College (except for guest editing done at other institutions), and produced and printed in England. Women's Studies is a scholarly research journal with notes and references, but is it also much more than that. Each issue is a t e m p t i n g collection of serious articles, poetry, graphics, b o o k reviews, and occasional interviews. Less formidable looking than some journals with its simple splash of color breaking through the black on the cover, it is, nonethe-
less, well respected. A simple typeface is used and the writing is generally clear and direct; the references grouped together at the end make for an uncluttered page. Although interdisciplinary in nature ("a forum for the presentation of scholarship and criticism about women in the fields of literature, history, art, sociology, law, political science, economics, anthropology and the sciences"), Women's Studies definitely emphasizes literature and history. Articles in the fields of economics ("Women in the World of Work," by Laura T. Rohrlich and Ethel L. Vatter), the social sciences ("Sex-Role Boundaries and Resistance to Sex-Role Change," by David Tresemer and Joseph Pleck), and medicine ("Medical Women and Lady Midwives," by Jean Donnison) have appeared but are the exception. If anything, recent issues seem to indicate that WS is becoming more focused on literature, criticism, and the creative process. In the first five volumes, these women writers -- Sylvia Plath, Anais Nin, Doris Lessing, Susanna Rowson, Margaret Fuller, Louisa May Alcott, Katherine Mansfield, and Louise Bogan -- were the subject of at least one article each. In addition, one whole issue was devoted to a discussion of Virginia Woolf's work. Nonetheless, the contents of Women's Studies as a whole are diverse and a selective sampling of the articles would include the following: "Prescriptions for Penelope: Literature on Women's Obligations to Returning World War II Veterans," by Susan M. Hartman; "Why Women Don't Hunt: An Anthropologist Looks at the Origin of the Sexual Division of Labor in Society," by Marlene Dobkin DeRios; and "Mothers and Babies: The Wet Nurse and Her Employer in Mid-Nineteenth England," by Ann Roberts, a fascinating discussion of this phenomenon. It has been WS policy to be as flexible as possible in its approach and to be willing to take risks and be controversial. Consequently, the journal has no political stance or specific bias of its own. It aims to be eclectic and varied. Some SERIALS REVIEW
OCTOBER/DECEMBER 1979
9
art and artists books and bookmen dance and dancers films and filming music and musicians plays and players records and recording published monthly by hansom books P.O. Box 294 2 & 4 Old Pye Street London SWlP 2LR England a sample back issue o f a n y one title sent free on r e q u e s t
10
SERIALS REVIEW
OCTOBER/DECEMBER 1 9 7 9
of its early articles were path-breaking and formed the basis for books a n d work later; one example is Carolyn Heilbrun's work o n a n d r o g y n y , which was the subject of a special issue. It is the e d i t o r s ' opinion that by reading WS, one gets a preview of where the field of women's studies is going. In a d d i t i o n to the research articles, each issue of Women's Studies c o n t a i n s a mixture of poetry, photographs, drawings, b o o k reviews, a n d an occasional interview, and runs to about a h u n d r e d pages. The .poems and graphics are few in number, b u t well chosen. Often they relate to the rest of the contents, especially if it is a theme issue, and they serve to liven up the pages. Each issue usually includes one or two book reviews of the m o r e significant titles in the field, such as The Female Imagination b y Patricia Meyer Spacks. These are, however, somewhat lacking in currency (two 1975 books reviewed in a 1979 issue). Interviews with Eleanor Bergstein and Susan F r i e d m a n have appeared, as well as a conversation with Ann Sexton a n d Maxine Kumin. Other features include "Notes a b o u t C o n t r i b u t o r s , " ads for other women's publications, an editorial or i n t r o d u c t i o n to the issue, and commentary on w o m e n ' s studies as a discipline. A letters to the editor section, although n o t included, could, I think, be of interest. Contributors to WS i n c l u d e m a n y in the academic world, as well as freelance artists. Special t h e m e issues appear irregularly; examples are one on a n d r o g y n y , one on women's poetry, and the most recent issue (vol. 6, no. 2) devoted to "Mothers and Daughters in L i t e r a t u r e . " This last is indeed a rich issue with articles on the birth of the female artist, immigrant mothers on the works of their daughters, the Greek novels of Lilika Nakos, photographs of daughters at birth, and a bibliography of mothers and daughters i n literature. The latter, comprised of more than 150 entries, is divided into five sections ranging from autobiogr a p h y / b i o g r a p h y and fiction to interdisciplinary background. It is sure to be of use to teachers of women's literature courses. W o m e n ' s studies as an academic discipline is still in its infancy and is still defining itself.One of the valuable features of the journal, Women's Studies, is its inclusion of articles on the problems and concerns of women's studies. Specific articles include "Feminist Criticism in the Classroom, or What D o Y o u M e a n We, White Man?", "Faculty Reaction to Women's Studies," and "Women's Studies: Problems in Research," by W e n d y Martin and Mary Louise Briscoe. Manuscripts for W S m a y be submitted or solicited. Submitted ones are generally read by three reviewers (usually m e m b e r s of the editorial board) and the acceptance rate is a selective I0 to 15 percent. In its first five years, Women's Studies has put together a stellar cast of contributors. The issues are a joy to read, always stimulating and thought provoking. T h e journal is definitely a must for almost all library collections. The fact that it is indexed in so m a n y places makes it invaluable for research. Along with Signs and Feminist Studies, Women's Studies is one of the key journals in this new, b u r g e o n i n g field.
Jean W. Farrington NOTES 1.
Author's telephone conservation with Wendy Martin, May 9, 1979.
Women's Studies. 1 9 7 2 - . 3/yr. $17.00/individuals; $51.50/ institutions. G o r d o n and Breach Science Publishers, 42 William IV Street, L o n d o n WC2, England. Editor: Wendy Martin. circ. 1,500. I n d e x e d : Arts & Humanities Citation Index; Amer.Hist. & Life; M.L.A. ; Wom.Stud.Abstr. LC 74-641303. ISSN 0 0 4 9 7878.