In 1942 Missouri Pettway, newly suffering the loss of her husband, pieced together a quilt out of his old, worn work clothes. Nearly six decades later her daughter Arlonzia Pettway, approaching eighty at the time and a seasoned quiltmaker herself, readily recalled the cover made by her grieving mother within the small African American farming community of Gee's Bend, Alabama. At once a story of grief, a quilt, and a community, Stitching Love and Loss connects Missouri Pettway's cotton covering to the history of a place, its residents, and the work of mourning. Interpreting varied sources of history and memory, Lisa Gail Collins engages crucial and enduring questions, simultaneously singular and shared: What are the languages, practices, and processes of mourning? How is loss expressed and remembered? What are the roles for creativity in grief? And how might a closely crafted material object, in its conception, construction, use, and memory, serve the work of grieving a loved one? Placing this singular quilt within its historical and cultural context, Collins illuminates the perseverance and creativity of the African American women quilters in this rural Black Belt community.

From Thomas Jefferson to William Jefferson Clinton, Scorpion Tongues is a popular history of gossip in American politics. Complete with wickedly delightful anecdotes of major and minor politicians and entertainers over the last 200 years, Gail Collins examines the evolving relationship between politicians and the press and the blurring of the lines between politicians and celebrities. Supported by extensive research and written with an entertaining flair, she speculates on how gossip reflects the current moral compass of the time, noting how a rumor, like an unpredictable summer tornado, can flatten one reputation while a similar story passes over another with hardly a rustle. "Hilariously readable" (The Economist), Scorpion Tongues offers sinful scandals and mild hearsay for every taste.

Gail Collins, New York Times columnist and bestselling author, recounts the astounding revolution in women's lives over the past 50 years, with her usual "sly wit and unfussy style" (People).
"When Everything Changed" begins in 1960, when most American women had to get their husbands' permission to apply for a credit card. It ends in 2008 with Hillary Clinton's historic presidential campaign. This was a time of cataclysmic change, when, after four hundred years, expectations about the lives of American women were smashed in just a generation.
A comprehensive mix of oral history and Gail Collins's keen research--covering politics, fashion, popular culture, economics, sex, families, and work--"When Everything Changed" is the definitive book on five crucial decades of progress. The enormous strides made since 1960 include the advent of the birth control pill, the end of "Help Wanted--Male" and "Help Wanted--Female" ads, and the lifting of quotas for women in admission to medical and law schools. Gail Collins describes what has happened in every realm of women's lives, partly through the testimonies of both those who made history and those who simply made their way.
Picking up where her highly lauded book "America's Women" left off, "When Everything Changed" is a dynamic story, told with the down-to-earth, amusing, and agenda-free tone for which this beloved "New York Times "columnist is known. Older readers, men and women alike, will be startled as they are reminded of what their lives once were--"Father Knows Best" and "My Little Margie" on TV; daily weigh-ins for stewardesses; few female professors; no women in the Boston marathon, in combat zones, or in the police department. Younger readers will see their history in a rich new way. It has been an era packed with drama and dreams--some dashed and others realized beyond anyone's imagining.

Landmark, groundbreaking, classic-these adjectives barely do justice to the pioneering vision and lasting impact of The Feminine Mystique. Published in 1963, it gave a pitch-perfect description of "the problem that has no name": the insidious beliefs and institutions that undermined women's confidence in their intellectual capabilities and kept them in the home. Writing in a time when the average woman first married in her teens and 60 percent of women students dropped out of college to marry, Betty Friedan captured the frustrations and thwarted ambitions of a generation and showed women how they could reclaim their lives. Part social chronicle, part manifesto, The Feminine Mystique is filled with fascinating anecdotes and interviews as well as insights that continue to inspire. This 50th-anniversary edition features an afterword by best-selling author Anna Quindlen as well as a new introduction by Gail Collins.

America's Women tells the story of more than four centuries of history. It features a stunning array of personalities, from the women peering worriedly over the side of the Mayflower to feminists having a grand old time protesting beauty pageants and bridal fairs. Courageous, silly, funny, and heartbreaking, these women shaped the nation and our vision of what it means to be female in America.

By culling the most fascinating characters -- the average as well as the celebrated -- Gail Collins, the editorial page editor at the New York Times, charts a journey that shows how women lived, what they cared about, and how they felt about marriage, sex, and work. She begins with the lost colony of Roanoke and the early southern "tobacco brides" who came looking for a husband and sometimes -- thanks to the stupendously high mortality rate -- wound up marrying their way through three or four. Spanning wars, the pioneering days, the fight for suffrage, the Depression, the era of Rosie the Riveter, the civil rights movement, and the feminist rebellion of the 1970s, America's Women describes the way women's lives were altered by dress fashions, medical advances, rules of hygiene, social theories about sex and courtship, and the ever-changing attitudes toward education, work, and politics. While keeping her eye on the big picture, Collins still notes that corsets and uncomfortable shoes mattered a lot, too.

"The history of American women is about the fight for freedom," Collins writes in her introduction, "but it's less a war against oppressive men than a struggle to straighten out the perpetually mixed message about women's roles that was accepted by almost everybody of both genders."

Told chronologically through the compelling stories of individual lives that, linked together, provide a complete picture of the American woman's experience, America's Women is both a great read and a landmark work of history.

The president who served the shortest term--just a single month--but whose victorious election campaign rewrote the rules for candidates seeking America's highest office

William Henry Harrison died just thirty-one days after taking the oath of office in 1841. Today he is a curiosity in American history, but as Gail Collins shows in this entertaining and revelatory biography, he and his career are worth a closer look. The son of a signer of the Declaration of Independence, Harrison was a celebrated general whose exploits at the Battle of Tippecanoe and in the War of 1812 propelled him into politics, and in time he became a leader of the new Whig Party, alongside Daniel Webster and Henry Clay. But it was his presidential campaign of 1840 that made an indelible mark on American political history.

Collins takes us back to that pivotal year, when Harrison's "Log Cabin and Hard Cider" campaign transformed the way candidates pursued the presidency. It was the first campaign that featured mass rallies, personal appearances by the candidate, and catchy campaign slogans like "Tippecanoe and Tyler, Too." Harrison's victory marked the coming-of-age of a new political system, and its impact is still felt in American politics today. It may have been only a one-month administration, but we're still feeling the effects.

"You're not getting older, you're getting better," or so promised the famous 1970's ad--for women's hair dye. Americans have always had a complicated relationship with aging: embrace it, deny it, defer it--and women have been on the front lines of the battle, willingly or not. In her lively social history of American women and aging, acclaimed New York Times columnist Gail Collins illustrates the ways in which age is an arbitrary concept that has swung back and forth over the centuries. From Plymouth Rock (when a woman was considered marriageable if "civil and under fifty years of age"), to a few generations later, when they were quietly retired to elderdom once they had passed the optimum age for reproduction, to recent decades when freedom from striving in the workplace and caretaking at home is often celebrated, to the first female nominee for president, American attitudes towards age have been a moving target. Gail Collins gives women reason to expect the best of their golden years.

"This important study is the first to confront head-on the avoidance of the visual that has plagued black studies in the United States. "The Art of History" opens the often hermetic world of black visual culture to a much broader realm in which questions central to contemporary feminism, black studies, and cultural theory are brought to bear."--Judith Wilson, University of California, Irvine""The Art of History" is an important book that expands the significance of visual culture to African American studies debates. It provides cogent and insightful explorations of the work of contemporary African American women artists. Scholars and general readers alike are sure to be compelled by this original and innovative study."--Valerie Smith, author of "Not Just Race, Not Just Gender: Black Feminist Readings"In this lively and engaging book, Lisa Gail Collins examines the work of contemporary African American women artists. Her study comes at a time when an unprecedented number of these artists--photographers, filmmakers, painters, installation and mixed-media artists--have garnered the attention and imagination of the art-viewing public.To better understand the significance of this particular historical moment in American visual arts, Collins focuses on four "problems" that recur when these artists confront their histories: the documentation of truth; the status of the black female body; the relationship between art and cultural contact and change; and the relationship between art and black girlhood. By examining the social and cultural histories which African American women artists engage, Collins illuminates a dialogue between past and present imagemakers.
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The Art of History" is a major contribution to the study of American visual culture. It will be of use to both scholars and students in art history, African American studies, American studies, and women's studies.