Three million girls across the world are at risk of female genital mutilation (FGM) each year. When Ann-Marie Wilson met a girl named Fatima in West Darfur, who had experienced FGM at the age of five and was pregnant by the age of ten, she knew she had to do something. Her life's work since then has been geared toward speaking out against FGM, as well as supporting the physical, emotional, and spiritual needs of as many survivors as possible. Built on the experience of more than 3,000 FGM survivors' stories as well as meetings with heads of state and the Pope, Overcoming tells the compelling story of how Ann-Marie leaned on her Christian faith through her darkest moments to build 28 Too Many. This international organisation offers hope to the millions of girls who, just like Fatima, are at risk of FGM each year.

In The Labors of Modernism, Mary Wilson analyzes the unrecognized role of domestic servants in the experimental forms and narratives of Modernist fiction by Virginia Woolf, Gertrude Stein, Nella Larsen, and Jean Rhys. Examining issues of class, gender, and race in a transatlantic Modernist context, Wilson brings attention to the place where servants enter literature: the threshold. In tracking their movements across the architectural borders separating indoors and outdoors and across the physical doorways between rooms, Wilson illuminates the ways in which the servants who open doors symbolize larger social limits and exclusions, as well as states of consciousness. The relationship between female servants and their female employers is of particular importance in the work of female authors, for whom the home and the novel are especially interconnected sites of authorization and domestication. Modernist fiction, Wilson shows, uses domestic service to tame and interrogate not only issues of class, but also the overlapping distinctions of racial and ethnic identities. As Woolf, Stein, Larsen, and Rhys use the novel to interrogate the limitations of gendered domestic ideologies, they find they must deploy these same ideologies to manage the servant characters whose labor maintains the domestic spaces they find limiting. Thus the position of servants in these texts forces the reader to recognize servants not just as characters, but as conditions for the production of literature and of the homes in which literature is created.

In The Labors of Modernism, Mary Wilson analyzes the unrecognized role of domestic servants in the experimental forms and narratives of Modernist fiction by Virginia Woolf, Gertrude Stein, Nella Larsen, and Jean Rhys. Examining issues of class, gender, and race in a transatlantic Modernist context, Wilson brings attention to the place where servants enter literature: the threshold. In tracking their movements across the architectural borders separating indoors and outdoors and across the physical doorways between rooms, Wilson illuminates the ways in which the servants who open doors symbolize larger social limits and exclusions, as well as states of consciousness. The relationship between female servants and their female employers is of particular importance in the work of female authors, for whom the home and the novel are especially interconnected sites of authorization and domestication. Modernist fiction, Wilson shows, uses domestic service to tame and interrogate not only issues of class, but also the overlapping distinctions of racial and ethnic identities. As Woolf, Stein, Larsen, and Rhys use the novel to interrogate the limitations of gendered domestic ideologies, they find they must deploy these same ideologies to manage the servant characters whose labor maintains the domestic spaces they find limiting. Thus the position of servants in these texts forces the reader to recognize servants not just as characters, but as conditions for the production of literature and of the homes in which literature is created.

In 1911 as progressivism moved toward its zenith, the state of California granted women the right to vote. However, women's political involvement in California's public life did not begin with suffrage, nor did it end there. Across the state, women had been deeply involved in politics long before suffrage, and--although their tactics and objectives changed--they remained deeply involved thereafter. "California Women and Politic"s examines the wide array of women's public activism from the 1850s to 1929--including the temperance movement, moral reform, conservation, trade unionism, settlement work, philanthropy, wartime volunteerism, and more--and reveals unexpected contours to women's politics in California. The contributors consider not only white middle-class women's organizing but also the politics of working-class women and women of color, emphasizing that there was not one monolithic "women's agenda," but rather a multiplicity of women's voices demanding recognition for a variety of causes.

Carpenter discusses apocalytptic narrative schemes in "Romola, Adam Bede, Middlemarch, Daniel Deronda, " and "The Legend of Jubal." In the context of nineteenth-century British interpretation of the prophesies, this study reveals an unsuspected visionary poetics in Eliot's writings and demonstrates that her later works rewrite Protestant apocalyptics in both romantic and satiric styles, suggesting a new approach to Victorian narrative form.
A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

A poetry collection that employs intuition, humor, and celebration while seeking to break out of restrictive social structures. Mary Wilson's Both, Apollo speaks from inside the bodies and binaries that so often act as constraints. It sometimes tries to negotiate its way out. It laments, celebrates, reasons, jokes, and occasionally begs. It runs into a wall and hugs it, offers it pizza, and speeds through grammars and cities until dizziness catapults it from the grid. It tries to queer the echoes of its language in the hope that a rhyme might break the logic of "either/or" and give rise to "both/and." Both, Apollo is a love poem to whatever has the grace to appear, quietly finding hope. Moments of humor and tenderness accompany the speaker with each act of crossing and circling back. The poems in Both, Apollo are constantly in flux, and Wilson's lyricism acts as a teaching tool for using both the real and the imagination to guide us in moment-by-moment navigation of our world. Both, Apollo won the Omnidawn Chapbook contest, selected by Victoria Chang.