Laura Ingalls Wilder and the American Frontier provides the reader with a broad sweep of information on Wilder not readily available in any other format. Included in this work are: discussions of Wilder's life; her writings and their influence on the interpretation of the American frontier, the feminine role in frontier life, Native American relations; and the use of the Little House as a teaching tool. Students of Western history, feminist scholars, home schoolteachers, and the Laura Ingalls Wilder following will find this an informative and enjoyable source.

Land is often known by the names of past owners. "Emma's Land," "Gina's quarter," and "the Ingeborg Land" are reminders of the many women who homesteaded across North Dakota in the late nineteenth and early twentieth centures. Land in Her Own Name records these homesteaders' experiences as revealed in interviews with surviving homesteaders and their families and friends, land records, letters, and diaries.

These women's fascinating accounts tell of locating a claim, erecting a shelter, and living on the prairie. Their ethnic backgrounds include Yankee, Scandinavian, German, and German-Russian, as well as African-American, Jewish, and Lebanese. Some were barely twenty-one, while others had reached their sixties. A few lived on their land for life and "never borrowed a cent against it"; others sold or rented the land to start a small business or two provide money for education.

For this paperback edition, Elizabeth Jameson's new foreword situates the homesteading experience for women within the larger context of western history.

This eclectic and carefully organized range of essays--from women's history and settler societies to colonialism and borderlands studies--is the first collection of comparative and transnational work on women in the Canadian and U.S. Wests. It explores, expands, and advances the aspects of women's history that cross national borders. Out of the talks presented at the 2002 "Unsettled Pasts: Reconceiving the West through Women's History," Elizabeth Jameson and Sheila McManus have edited a foundational text for pioneering scholars of this emergent, interdisciplinary field.

The Making of the Modern Law: Legal Treatises, 1800-1926 includes over 20,000 analytical, theoretical and practical works on American and British Law. It includes the writings of major legal theorists, including Sir Edward Coke, Sir William Blackstone, James Fitzjames Stephen, Frederic William Maitland, John Marshall, Joseph Story, Oliver Wendell Holmes, Jr. and Roscoe Pound, among others. Legal Treatises includes casebooks, local practice manuals, form books, works for lay readers, pamphlets, letters, speeches and other works of the most influential writers of their time. It is of great value to researchers of domestic and international law, government and politics, legal history, business and economics, criminology and much more.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++Harvard Law School Libraryocm24411651Includes index.Cincinnati: Standard Pub. Co, 1886. xvii, 584 p.: port.; 23 cm.

The Assistant is a fictionalized comedic memoir about a classically trained secretary. Join Molly on her journey from a childhood fascination with the office paraphernalia on her grandmother's large and alluring desk at the Pontiac dealership in Jamestown, New York to her position as a legal assistant in a high-powered Manhattan law firm. Follow her unfolding career choices and learn about her interactions with drunken bosses, lecherous supervisors and complete morons at the top of the business chain. Witness her maintaining her composure and dignity and sometimes losing both entirely. For those who have ever scratched out a living supporting the world's movers and shakers, this memoir offers a fresh look at the complexities of making your superiors (who often turn out to be your inferiors) look good. The Assistant is cleverly conceived, fast-paced and well executed. The prose is nimble, with laugh out loud character analysis in every chapter.

A major goal of the New Western History is to chronicle the vast diversity of western experience. In this pathbreaking anthology, coeditors Elizabeth Jameson and Susan Armitage-who brought us "The Women's West in 1987"-meet that challenge by bringing together twenty-nine essays that present women of all races as actors in their own lives and in the history of the American West and locate them in a framework that connects gender, race, and class.

In mythic sagas of the American West, the wide western range offered boundless opportunity to a limited cast of white men. Buffalo roamed, deer and antelope played, and women's voices were never heard. Writing the Range allows us to hear many long-silenced women: Spanish-Mexican settlers and American Indians on New Spain's northern frontiers; Chinese, Basque, Japanese, Korean, Vietnamese, Slavic, and Irish immigrants; film stars Dolores del Rio and Lupe Velez; Navajos and African Americans who moved to western cities during World War II; and the activist Mothers of East Los Angeles, who organized to resist environmental dangers to their community.

A valuable introduction to the rapidly changing field of western history, Writing the Range explains clearly how race, class, and culture are constructed and connected. The first section examines issues raised by more than a decade of multicultural western women's histories; following are six chronological sections spanning four centures. Each section offers a short introduction connecting is essays and placing them in analytic and historical perspective. Clearly written and accessible, Writing the Range makes a major contribution in ethnic history, women's history, and interpretations of the American West.

The American West looms large in popular imagination-a place where men were rugged and independent, violent and courageous. In this mythic West all the men were white, and the women were largely absent. The few female actors played supporting roles around the edges of the drama. Molded by the Victorian Cult of True Womanhood, they were passive, dependent, reluctant, and out of place. Men ""won"" the West. Women, against their better judgement, followed them to this ""newly discovered"" place and tried to re-create the amenities of the urban East.Or so the myth goes. The Women's West challenges this picture as racist, sexist, and romantic and rejects the customary emphasis of traditional western history on the nineteenth-century frontier, discovered and defined by Anglo men. In its place The Women's West begins the construction of a new western history as complex and varied as the people who lived it. This collection of twenty-one articles creates a multidimensional portrait of western women. The pioneer women presented here were actors in their own lives, not passive participants in their husbands' ventures. They were hardy seekers who came west, sometimes alone, in search of jobs, freedom, or land to homestead. They were political activists who worked tirelessly to win the right to vote and to hold political office. They adapted in practical ways to their own and their families' economic and personal needs in a new environment.