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In January 1988, hundreds of people gathered in Cardiff for a rally organised by ‘Wales Against Clause 28’. Held aloft ‘were signs identifying the places the mainly lesbian and gay marchers had lived and where they were from to disprove the popular notion that “there were no gays in Wales”.’ (p.
Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America is a deeply researched book, focused on how the new medium of photography was shaped and, in turn, altered by the country’s struggle over human bondage.
‘This book’, writes Jeffrey A. Auerbach in his Introduction to Imperial Boredom, ‘is very much about how people felt’ [his italics]. As such, it takes its place in a growing body of scholarship that explores through individual lives the mind-set that under-pinned the empire project, both individually and on a collective level.
It is an ambitious book that would try to cover the Conquest of Mexico, the rise and fall of the country’s hacienda system, the emergence of the Virgen de Guadalupe, the intricacies of Emiliano Zapata’s role in the Mexican Revolution, and the exodus of women from rural regions in the mid-1960s to look for work as ‘household help’ in the nation’s fast-growing capital city.
The age of lesbian and gay, in which those were the dominant terms for homoeroticism and other things that seemed (sometimes arbitrarily) to be related to it, appears to be over.
Rachel Beer first caught my attention some 20 years ago when I was trawling through Who Was Who looking for journalists. She was unusual because she was the editor of The Sunday Times in the 1890s, when no other national newspaper had a woman editor. She was also deeply conscious of her background, proud of being a member of the wealthy and important Jewish family of Sassoon.
The subject of sati – more commonly known to Anglophone readers as ‘suttee’, a term which was used by 18th- and 19th-century writers to signify the self-immolation of Hindu widows on the funeral pyres of their husbands (1) – has long been of interest to historians.
The Caversham Project has been a long-running and detailed historical investigation of work and community, social structure, class and gender in the southern suburbs of Dunedin, New Zealand. With a strong, indeed rigorous, quantitative basis the project has generated an impressive list of books, essays and working papers over the last 20 years.
Deborah Simonton’s Women in European Culture and Society: Gender, Skill and Identity from 1700 purports a ‘straightforward agenda – to explore European women’s relationship to their culture and society since about 1700’ (p. 1).
Chocolate, writes Emma Robertson in the introduction to her monograph, ‘has been invested with specific cultural meanings which are in part connected to … conditions of production’ (p. 3). At the heart of this study is a challenge to existing histories: