Creative Resilience and COVID-19 examines arts, culture, and everyday life as a way of navigating through and past COVID-19. Drawing together the voices of international experts and emerging scholars, this volume explores themes of creativity and resilience in relation to the crisis, trauma, cultural alterity, and social change wrought by the pandemic. The cultural, social, and political concerns that have arisen due to COVID-19 are inextricably intertwined with the ways the pandemic has been discussed, represented, and visualized in global media. The essays included in this volume are concerned with how artists, writers, and advocates uncover the hope, plasticity, and empowerment evident in periods of worldwide loss and struggle-factors which are critical to both overcoming the COVID-19 pandemic and fashioning the post-COVID-19 era. Elaborating on concepts of the everyday and the outbreak narrative, Creative Resilience and COVID-19 explores diverse themes including coping with the crisis through digital distractions, diary writing, and sounds; the unequal vulnerabilities of gender, ethnicity, and age; the role of visuality and creativity including comics and community theatre; and the hopeful vision for the future through urban placemaking, nighttime sociability, and cinema. The book fills an important scholarly gap, providing foundational knowledge from the frontlines of the COVID-19 pandemic through a consideration of the arts, humanities, and social sciences. In doing so, Creative Resilience and COVID-19 expands non-medical COVID-19 studies at the intersection of media and communication studies, cultural criticism, and the pandemic.

Creative Resilience and COVID-19 examines arts, culture, and everyday life as a way of navigating through and past COVID-19. Drawing together the voices of international experts and emerging scholars, this volume explores themes of creativity and resilience in relation to the crisis, trauma, cultural alterity, and social change wrought by the pandemic. The cultural, social, and political concerns that have arisen due to COVID-19 are inextricably intertwined with the ways the pandemic has been discussed, represented, and visualized in global media. The essays included in this volume are concerned with how artists, writers, and advocates uncover the hope, plasticity, and empowerment evident in periods of worldwide loss and struggle-factors which are critical to both overcoming the COVID-19 pandemic and fashioning the post-COVID-19 era. Elaborating on concepts of the everyday and the outbreak narrative, Creative Resilience and COVID-19 explores diverse themes including coping with the crisis through digital distractions, diary writing, and sounds; the unequal vulnerabilities of gender, ethnicity, and age; the role of visuality and creativity including comics and community theatre; and the hopeful vision for the future through urban placemaking, nighttime sociability, and cinema. The book fills an important scholarly gap, providing foundational knowledge from the frontlines of the COVID-19 pandemic through a consideration of the arts, humanities, and social sciences. In doing so, Creative Resilience and COVID-19 expands non-medical COVID-19 studies at the intersection of media and communication studies, cultural criticism, and the pandemic.

In June 1908, a red-haired orphan appeared on to the streets of Boston and a modern legend was born. That little girl was Anne Shirley, better known as "Anne of Green Gables," and her first appearance was in a book that has sold more than 50 million copies worldwide and been translated into more than 35 languages (including Braille). The author who created her was Lucy Maud Montgomery, a writer who revealed very little of herself and her method of crafting a story. On the centenary of its publication, Irene Gammel tells the braided story of both Anne and Maud and, in so doing, shows how a literary classic was born. Montgomery's own life began in the rural Cavendish family farmhouse on Prince Edward Island, the place that became the inspiration for Green Gables. Mailmen brought the world to the farmhouse's kitchen door in the form of American mass market periodicals sparking the young Maud's imagination. From the vantage point of her small world, Montgomery pored over these magazines, gleaning bits of information about how to dress, how to behave and how a proper young lady should grow. She began to write, learning how to craft marketable stories from the magazines' popular fiction; at the same time the fashion photos inspired her visual imagination. One photo that especially intrigued her was that of a young woman named Evelyn Nesbit, the model for painters and photographers and lover of Stanford White. That photo was the spark for what became Anne Shirley. Blending biography with cultural history, "Looking for""Anne of Green Gables" is a gold mine for fans of the novels and answers a trunk load of questions: Where did Anne get the "e" at the end of her name? How did Montgomery decide to give her red hair? How did Montgomery's courtship and marriage to Reverend Ewan Macdonald affect the story? Irene Gammel's dual biography of Anne Shirley and the woman who created her will delight the millions who have loved the red haired orphan ever since she took her first step inside the gate of Green Gables farm in Avonlea.

For Canadian impressionist Mary Riter Hamilton, capturing the emotional landscape of battlefields and graveyards in the months after the Great War's armistice became an artistic calling and defined her work. A woman alone after the storm had passed, she found that her life after the war was indelibly marked by the experience. Undeterred by a rejection from the Canadian War Memorials Fund, who nominated only male war artists abroad, in 1919 Hamilton received a commission from the Amputation Club of British Columbia (now the War Amps) to commemorate those lost at war. She travelled from Victoria to the pre-reconstruction battlefields and towns of the Somme, Vimy Ridge, and the Ypres Salient where amid harsh conditions - inadequate shelter and food, surroundings littered with unexploded shells - she recorded with determination, pride, and grace the ruins of war. Based on intensive archival research in Canada, France, and Belgium, and using many previously unpublished letters, I Can Only Paint offers an insider's view of the artist's vast, underexplored body of war work and the conditions in which she created it. It places this period, central though it was, in the context of a full understanding of her life and restores the work she created there to its proper place in the canon of war art in Canada and abroad. Irene Gammel argues that Hamilton's work encoded a female perspective that distinguishes her paintings from the work of official Canadian war artists. The first reliable account of Hamilton's impressions of Canada's most haunting sites of conflict, I Can Only Paint captures with detail and sensitivity an experience that defined her life and recovers a body of work that stands as a unique and enduring portrait of the effects of the Great War.

I cast "moral" and "Sunday School" ideals to the winds and made my "Anne" a real human girl. - L. M. Montgomery In 2008, Anne fans everywhere celebrated the 100th birthday of Lucy Maud Montgomery's Anne of Green Gables. Though Anne has always been recognized as a Canadian classic, her story is loved the world over. In 100 Years of Anne with an "e" The Centennial Study of Anne of Green Gables, Holly Blackford has brought together an international community of scholars who situate L. M. Montgomery's novel in its original historical and literary context, discuss its timeless themes, and explore its aesthetic and cultural legacy across time and place. Blackford's collection certainly proves Anne's international appeal, gathering contributors from Australia, Canada, Germany, Ireland, and the United States. Their essays explore diverse themes such as L.M. Montgomery's career and writing practices, her influence on Canadian fiction, shifting views and definitions of childhood, domesticity, identity and place, and Anne on film. This new look at the beloved red-headed orphan will appeal to any reader who just can't get enough of Anne.

The first major collection of poetry written in English by the flabbergasting and flamboyant Baroness Elsa, "the first American Dada." As a neurasthenic, kleptomaniac, man-chasing proto-punk poet and artist, the Baroness Elsa von Freytag-Loringhoven left in her wake a ripple that is becoming a rip-one hundred years after she exploded onto the New York art scene. As an agent provocateur within New York's modernist revolution, "the first American Dada" not only dressed and behaved with purposeful outrageousness, but she set an example that went well beyond the eccentric divas of the twenty-first century, including her conceptual descendant, Lady Gaga. Her delirious verse flabbergasted New Yorkers as much as her flamboyant persona. As a poet, she was profane and playfully obscene, imagining a farting God, and transforming her contemporary Marcel Duchamp into M'ars (my arse). With its ragged edges and atonal rhythms, her poetry echoes the noise of the metropolis itself. Her love poetry muses graphically on ejaculation, orgasm, and oral sex. When she tired of existing words, she created new ones: "phalluspistol," "spinsterlollipop," "kissambushed." The Baroness's rebellious, highly sexed howls prefigured the Beats; her intensity and psychological complexity anticipates the poetic utterances of Anne Sexton and Sylvia Plath. Published more than a century after her arrival in New York, Body Sweats is the first major collection of Elsa von Freytag-Loringhoven's poems in English. The Baroness's biographer Irene Gammel and coeditor Suzanne Zelazo have assembled 150 poems, most of them never before published. Many of the poems are themselves art objects, decorated in red and green ink, adorned with sketches and diagrams, presented with the same visceral immediacy they had when they were composed.

Working Women in American Literature, 1865-1950 consists of eight original essays by literary, historical, and multicultural critics on the subject of working women in late-nineteenth- to mid-twentieth-century American literature. The volume examines how the American working woman has been presented, misrepresented, and underrepresented in American realistic and naturalistic literature (1865-1930), and by later authors influenced by realism and naturalism. Points explored include: the historical vocational realities of working women (e.g., factory workers, seamstresses, maids, teachers, writers, prostitutes, etc.); the distortions in literary representations of female work; the ways in which these representations still inform the lives of working women today; and new perspectives from queer theory, immigrant studies, and race and class analyses. These essays draw on current feminist thought while remaining mindful of the historicity of the context. The essayists discuss important women writers of the period (for instance, Ellen Glasgow, Charlotte Perkins Gilman, Rachel Crothers, Willa Cather, and the understudied Ann Petry), as well as canonical writers like Theodore Dreiser, Henry James, and William Dean Howells. The discussions touch on a variety of literary and artistic genres: novels, short stories, other forms of fiction, biographies, dramas, and films. In the introductory essay and throughout the collection, the term "working women in the United States" is deconstructed; the historical and cultural definitions of "work," and the words "work in America" are redefined through the lens of genders.

Working Women in American Literature, 1865-1950 consists of eight original essays by literary, historical, and multicultural critics on the subject of working women in late-nineteenth- to mid-twentieth-century American literature. The volume examines how the American working woman has been presented, misrepresented, and underrepresented in American realistic and naturalistic literature (1865-1930), and by later authors influenced by realism and naturalism. Points explored include: the historical vocational realities of working women (e.g., factory workers, seamstresses, maids, teachers, writers, prostitutes, etc.); the distortions in literary representations of female work; the ways in which these representations still inform the lives of working women today; and new perspectives from queer theory, immigrant studies, and race and class analyses. These essays draw on current feminist thought while remaining mindful of the historicity of the context. The essayists discuss important women writers of the period (for instance, Ellen Glasgow, Charlotte Perkins Gilman, Rachel Crothers, Willa Cather, and the understudied Ann Petry), as well as canonical writers like Theodore Dreiser, Henry James, and William Dean Howells. The discussions touch on a variety of literary and artistic genres: novels, short stories, other forms of fiction, biographies, dramas, and films. In the introductory essay and throughout the collection, the term "working women in the United States" is deconstructed; the historical and cultural definitions of "work," and the words "work in America" are redefined through the lens of genders.

Sexualizing Power In Naturalism, sheds light on the function of female sexuality in a predominantly male genre: naturalist fiction. Gammel reveals that naturalism is frequently implicated in the very power structures it critiques. Reading European and North American naturalism through the lens of feminist and Foucaultian theories of power, Gammel argues that twentieth-century naturalism increasingly deconstructs itself in its depiction of sexuality, inevitably exposing the genre's internal ideological contradictions. The book makes a special contribution to Canadian studies.

Poetry. Edited by Irene Gammel and Suzanne Zelazo. Florine Stettheimer (1871-1944) was an American modernist of German-Jewish heritage living in New York. She was a painter, designer, and poet. Together with her sisters Ettie and Carrie, Stettheimer hosted a legendary salon on the Upper West Side, where they entertained the likes of Marcel Duchamp, Carl Van Vechten, Henri McBride, and Georgia O'Keeffe. In 1934 Stettheimer designed the set and costumes for Gertrude Stein's opera Four Saints in Three Acts to much acclaim. In 1949, Ettie collected Florine's poems in CRYSTAL FLOWERS, a privately printed, elegant edition of 250. In addition to these rare poems, this new volume offers formerly unpublished material culled from archives, including three new poems and Stettheimer's libretto for her ballet "Orphee of the Quat-z-arts." Gammel and Zelazo have re-situated this overlooked poet among her modernist sisters, presenting her as an important practitioner of a modernism that integrates multiple art forms. Sixty years after it first appeared for a select few, her poetry shines for a new generation of readers ready to appreciate her irreverent camp aesthetic and her exuberant painterly style.

The first biography of the enigmatic dadaist known as "the Baroness"-Elsa von Freytag-Loringhoven. Elsa von Freytag-Loringhoven (1874-1927) is considered by many to be the first American dadaist as well as the mother of dada. An innovator in poetic form and an early creator of junk sculpture, "the Baroness" was best known for her sexually charged, often controversial performances. Some thought her merely crazed, others thought her a genius. The editor Margaret Anderson called her "perhaps the only figure of our generation who deserves the epithet extraordinary." Yet despite her great notoriety and influence, until recently her story and work have been little known outside the circle of modernist scholars. In Baroness Elsa, Irene Gammel traces the extraordinary life and work of this daring woman, viewing her in the context of female dada and the historical battles fought by women in the early twentieth century. Striding through the streets of Berlin, Munich, New York, and Paris wearing such adornments as a tomato-soup can bra, teaspoon earrings, and black lipstick, the Baroness erased the boundaries between life and art, between the everyday and the outrageous, between the creative and the dangerous. Her art objects were precursors to dada objects of the teens and twenties, her sound and visual poetry were far more daring than those of the male modernists of her time, and her performances prefigured feminist body art and performance art by nearly half a century.