"A gifted courtesan in an age of talented women, Xue Susu, ca. 1564 ca. 1637, (that is, Xue Wu; her sobriquets include Xuesu, Sujun, Runqing, Qiaoqiao, Wulang, and Runniang) was classed as one of the Eight Famous Courtesans of the Ming. She was known for her paintings of orchids and bamboo, for her poetry, and for her skill at shooting with bow and arrow from horseback; she called herself a "female knight-errant." Sources disagree on the place of Xue's birth, and record it as Suzhou in Jiangsu province or Jiaxing in Zhejiang province. Active in the pleasure quarters along the Qinhuai River in Nanjing, Xue Susu met and befriended many distinguished men of letters.
Dong Qichang (1555-1636), the foremost painter and theorist of painting of the day, held her work in high esteem, writing:
"As for [painting] landscapes, orchids, and bamboo, she lowers her brush swiftly, sweepingly. None [of her paintings] lacks an intention and spirit that approaches the divine."
Hu Yinglin (1543-1581) added: "What famous painter with skilled hands can surpass her?" The judgment of Dong and Hu is echoed by their contemporary Fan Yunlin (1558-1641) in a colophon attached to her "Flowers," a painting of 1615:
''Later generations have not seen many women who paint as well as Madame Guan . . . . I obtained from a friend an ink-orchid fan by her [Xue Susu]. It was like having obtained a precious jade: to this day I store it away as a treasure."
Orchid, Bamboo, Pine and Plum / Butterflies and Flowers/ Girl playing flute (self-portrait)
Xue Susu's paintings were enhanced by her poetry, also highly regarded. Hu Yinglin in his Jiayi shengyan wrote of her literary accomplishments: "Susu was interested in Buddhism which she studied with Yu Xianzhang. She was fond of poetry which she learned from Wang Xingfu. Her poetry, although lacking in freedom, shows a talent rare among women."
In the economy of social exchange between courtesan and patron, Xue Susu's talents in painting and poetry served her well. She produced paintings and poems for her lovers as tokens of their shared affection. In return she received the poetic attentions of her lovers and admirers, who included some of the most prominent writers of her day the dramatist Shen Defu (1578-1642) and the painter and author Li Rihua (1565-1635), among others.
Her liaisons with and social connections to leading literati placed Xue Susu at the center of late Ming cultural life. Yet Xue, unlike many courtesans, did not accept the prolonged tutelage of a single man and never formed a lasting bond with any of her lovers. She married several times during her life and was left alone in her last years."
Her poetry:
Painting orchids
In the empty valley a lady of surpassing beauty;
Blue silken gauze for a belt, and jade for flesh.
Except, alas, that it gets mingled with the weeds;
Its secluded fragrance rare, but unnoticed.
Written as a Gift When Passing Cai's "Shadowy Cloud" Tower
Leaning idly against a tall tower, lingering a little;
Irises before the window delicately exhale fragrance.
Milky light from a hidden table reflects on the bare wall;
Mountain air rests on books, dampens the couch.
I have heard of nights lit gray by bramble fires,
I like the coolness of jade trees the wind produces:
In its midst one finds competent poets,
But who is as talented as Master Cai?
From: Xue's Susu biographical note and translation of her poems by Jennifer Purtle, in: Women writers of traditional China: an anthology of poetry and criticism
"Henry II had at least eight legitimate children by Eleanor born between 1152 and 1167, but also seven by as many concubines (5 sons and 2 daughters), of whom several were born before Eleanor appeared on the scene and several during the king’s marriage."
— Elisabeth van Houts, "Queens in the Anglo-Norman/Angevin realm 1066–1216"
I always thought Henry II had two or three illegitimate children (at least, that's what most biographies and other academic papers said...), but he apparently had seven?
The source Elisabeth van Houts cited was the chapter "Archbishop Geoffrey of York. A problem in Anglo-French Maternity" by Marie Lovatt in Records, Administration and Aristocratic Society in the Anglo-Norman Realm. I don't have the book and can't find the chapter anywhere online, so if anyone can access it or knows anything more about this, please let me know!
#@ angevin experts please chime in ; hope it's okay to reblog and add to this! i hardly count as an angevin expert and certainly not one for henry ii but i do have access to this chapter and the list of illegitimate children seems to be:
Luisa Roldán, known as La Roldana (1652–1706), was one of the greatest sculptors of the Spanish Baroque. She became a court sculptor and amazed her contemporaries with the quality of her work.
A promising apprentice
Like many women artists of her time, Luisa came from an artistic family and learned her craft in the family workshop. Her father, Pedro Roldán, was a sculptor who specialized in polychrome religious sculptures carved from wood. She trained alongside her siblings, including her sisters María and Francisca.
She later fell in love with Luis Antonio de los Arcos, one of her father's apprentices. Determined to marry him despite her father's opposition, Luisa appealed to the church authorities and married him in 1671. With her departure, Pedro lost one of the most gifted artists in his workshop, which was likely the main reason he had opposed the marriage. Luisa and her husband would have seven children, although only two survived infancy.
Court sculptor
In 1677, the couple began receiving commissions of their own and opened their own workshop. Luisa soon emerged as its principal sculptor, eclipsing her husband. Unlike many women from artistic dynasties, she gained recognition under her own name rather than remaining an anonymous assistant in the family business. The couple later moved to Madrid, where Luisa found a broader stage for her talent.
She applied to Charles II of Spain for the position of Escultor de Cámara (Court Sculptor). Four years later, she obtained the appointment and created two magnificent wooden sculptures for the king and his wife. Despite this prestigious position, she struggled both to secure and collect her salary because of the severe financial difficulties affecting Spain at the time. She repeatedly petitioned the monarchs, stressing her need to provide for her children. On one occasion, the queen replied: “Give her twenty-five doubloons this time."The wording suggests that her financial difficulties were an ongoing concern.
After Charles II's death in 1700, Luisa entered the service of his successor, Philip V. To secure his patronage, she presented him with a luxurious work of art intended to adorn one of his residences. She remained his court sculptor until her death in 1706.
Virgo Lactans / Saint Ginés de la Jara / Virgen Peregrina
Stunning terracottas
Since royal patronage did not guarantee financial security, Luisa turned to producing small-scale terracotta devotional sculptures. It was a wise decision, as there was strong demand among churches, convents, aristocrats, and private collectors. Her works were acquired by religious institutions, where they could be displayed on altars or in sacristies, as well as by wealthy individuals, who often placed them in private chapels or domestic interiors.
During her lifetime, Luisa's work enjoyed considerable critical acclaim, particularly at court. Her lifelike sculptures inspired devotion through their remarkable realism. She demonstrated an exceptional mastery of composition and imbued her figures with warmth and tenderness, skillfully blending sacred and profane.
Today, Luisa remains one of the most internationally celebrated and collected artists of the Spanish Baroque.
If you enjoy this blog, consider supporting me on Ko-fi!
Further reading:
Dabbs Julia K., Life Stories of Women Artists, 1550–1800: An Anthology
De Girolami Cheney Liana, “Luisa Ignacia Roldán "La Roldana": New Attributions to the First Sculptress of Spain, 1652-1706”
Gardonio-Foat Casey, “Daughters of Seville : workshops and women artists in early modern Andalucia”
Kinnaird Jennifer, “Gros plan sur Luisa Roldán”
Lenaghan Patrick, “Luisa Roldán: Court Sculptor to the Kings of Spain”
A few months ago, there was a little conversation about rape culture in historical fiction. As someone who reads a lot of historical fiction, naturally I had A Lot Of Thoughts. I started writing them and because they got very long and had little to do with the original post, I figured it was best to give them their own post.
Before I get into them, I want to start off with some disclaimers:
1) Obviously, there is going to be a lot – A LOT – of discussion about rape. There will also be a fair amount of discussion about preteen and teenage marriages, sex and pregnancies, child grooming. Most of this will be in relation to things that actually happened and/or how that’s been depicted in fiction. Obviously, if this is going to upset or trigger you, please don’t read any further.
2) I can only talk about historical fiction that I, personally, have read or heard about, most of which will be focused on late medieval England. My memory may be faulty, I may have been misinformed. If I get it wrong, I’m sorry but this isn’t a research paper, it’s a tumblr post and I’m not spending months rereading novels when the larger point I’m making is more important. On a similar note: I’m sorry for any typos but again, tumblr post.
3) I’m not going to be talking about bodice rippers, historical romances with a loose relationship to history in the first place or ‘smutty’ novels. I don’t read a lot of them and in those novels, the point is the depiction of sexual fantasies.
The long-lost remains of King Alfred the Great have been found buried under a car park, investigators claim.
Alfred died in 899, and his bones were repeatedly moved. He was buried in Winchester Cathedral until 1110, when his remains were moved to Winchester's Hyde Abbey, where they were interred before the high altar between the bodies of his wife and son.
The abbey was demolished after the dissolution of the monasteries in 1539, and the place was left in ruins.
In 1866, during construction of a workhouse on the site, the English antiquarian John Mellor excavated the area, found what he thought were Alfred's bones and had them reburied at nearby St. Bartholemew’s Church.
But in 2013, when archaeologists exhumed and carbon-dated the bones from St. Bartholomew’s churchyard, they proved to date from over 200 years after Alfred’s death - sparking Graham's interest and search.
He said: "Whoever’s bones they were, they weren’t Alfred’s. So, I decided to discover what happened to them.
"The quest has taken me 13 years.”
"Henry II had at least eight legitimate children by Eleanor born between 1152 and 1167, but also seven by as many concubines (5 sons and 2 daughters), of whom several were born before Eleanor appeared on the scene and several during the king’s marriage."
— Elisabeth van Houts, "Queens in the Anglo-Norman/Angevin realm 1066–1216"
I always thought Henry II had two or three illegitimate children (at least, that's what most biographies and other academic papers said...), but he apparently had seven?
The source Elisabeth van Houts cited was the chapter "Archbishop Geoffrey of York. A problem in Anglo-French Maternity" by Marie Lovatt in Records, Administration and Aristocratic Society in the Anglo-Norman Realm. I don't have the book and can't find the chapter anywhere online, so if anyone can access it or knows anything more about this, please let me know!
"Between 1500 and 1600 there were fifty-four women who published books and managed book establishments in Paris. While some of these women were substantial publishers, approximately half published for one or two years and then disappeared from view. Of those who had a longer career, fifteen were active from three to seven years, and the rest (about fifteen) exercised their profession from eight to as long as thirty-five years.
A sampling of the women involved in printing/publish and a simple listing of the numbers of titles issued under imprints should suffice to show the diversity of their interests and their success in administering very complex businesses. One of the earliest was the widow Trepperel, who, sometimes acting alone other times collaborating with her son-in-law, produced 121 books of romances in the vernacular.
Between 1522 and 1557, Yolande Bonhomme's business produced over two hundred scholarly and liturgical books, bibles, and books of hours. Most women continued the traditions of firms which they inherited: Charlotte Guillard produced over 160 books on the early Church Fathers and canon and Roman law; Lucrèce Dugué- active from 1593 to the first decades of the seventeenth century- continued the musical production of the Ballard firm; Catherine L'Heritier (mid-sixteenth century) carried on the classics tradition of her husband's firm; the Regnault family concentrated on popular liturgical books in Latin and the vernacular; and Nicole Pleau's firm continued to print the ordinances of the realm, a highly lucrative monopoly originally granted by royal privilege to her husband, Jean Dallier. Marie Lescalloppier, however, changed the direction of her firm from music, which her husband had printed, to religious books and the classics.
As a group women published more than 1,250 titles of the 25,000 estimated to have been published throughout the course of the sixteenth century in Paris. Thus, women as a group, either alone or in partnership, produced approximately five percent of the books in Paris in the sixteenth century, a total not insignificant when one compares it to figures for London for the same period of time. For the whole of the sixteenth century London could count only seventeen women booksellers and printers, and of these only five women actually printed books. In all, these five women brought out a total of eighty-five books, a very much smaller figure than that of their Parisian counterparts."
"Women printers in Paris in the sixteenth century", Beatrice Hibbard Beech
A few weeks ago one of my historical pet peeves was activated when I heard about a new Robin Hood movie that takes the groundbreaking, unprecedented, bold and visionary step of suggesting that the Middle Ages were a time of brutality, cynicism, and lawlessness.
Sarcasm alert. Everything I've heard about this movie sounds like it was created specifically to annoy me, so I'm going to try to ignore it and just talk about my pet peeve, which is this pop culture myth that the medieval period was particularly filthy, brutal, misogynistic and lawless.
Which is simply not the truth, and here's a true story from 1348 that shows the real Middle Ages.
We know this story because it's a very important moment in the development of common law - that is, the facts and the conclusion of the story were written down and became the basis for how similar cases would be decided long into the future. This 1348 judicial decision (citation: I de S et Uxor v W de S (1348) yb 22 edw iii f 99) is still read by law students today when studying the tort (or wrong) of assault. That's nearly seven hundred years of judges and lawyers looking back at a medieval judicial decision and saying, "Yes! That was a good and just decision!"
To set the stage, it's the 1300s - a century famous for the Black Death, the Hundred Years' War, the Peasants' Revolt, and the Babylonian Captivity of the Church that saw the papacy moved to the French town of Avignon as puppets of the French monarchcy. But that's not the only thing that happens in the 1300s. This century also sees the publication of Dante's Divine Comedy; the Clockwork Revolution in which intricately designed clocks tracked everything from the hours of the day (which were measured in variable lengths) to the phases of the moon and the Sun's path through the zodiac; the creation of gorgeous books of hours and tapestries; the career of Christine de Pizan, the first woman known to have made a living from her pen; the writing of Geoffrey Chaucer and the radical social and religious reforms proposed by John Wyclif and his followers.
About the middle of this century a man known to history as W de S came in the night to the house of I de S and M, his wife, looking to buy some wine. The door to the taven was closed, so W pounded on the door with a hatchet, which he had in his hand. At this, M, the tavern-keeper's wife, put her head out the window and told him to stop. W responded by throwing the hatchet at M, narrowly missing her.
The tavern-keeper and his wife, contrary to what pop culture will tell you, responded exactly the way a couple of pub owners might respond today: they took the offender to court and argued that W had made an assault on M. W argued, in response, that he had committed no crime because the hatchet had not in fact struck M.
You might now be thinking that of course W would have won the case, since no actual physical harm was done to the woman he'd attacked. But you would be wrong! The judge in the case declared that the assault itself was harmful, and that W was liable to pay compensation for the fright he had caused M.
"Ever since then," states my old Torts textbook, "the tort of assault has extended protection to a person's right to be free of emotional disturbance brought about by intentional threats of physical violence."
Law did exist in the middle ages. Women, as well as men, could expect to be protected by the law from assault. And not only physical, but even emotional damages could be awarded for assault...all the way back in 1348.
It wasn't a perfect time, but it was far from the callous brutality depicted on our movie screens.
Hi, I wanted to say I love your blog! I was wondering, what did you mean by "her story is so different from the stereotypical “women at sea” clichés" in the tags of this post? I'm only just beginning to learn about the age of sail, so just curious what those clichés are!
Thank you!
Women at sea being my current obsession, I'm delighted to talk about it.
So, the main popular clichés are:
The ship was the only 'she' at sea
The sea was a masculine space, etc. Everyone knows it. Except that Rose's story shows that not only was the crew aware of her presence when she stowed away, but she successfully inserted herself into the ship's life.
The passage where she meets the English captain and his seagoing wife is very telling. The wife lives on a frigate after all! This calls back to the British tradition of bringing women to sea, which lasted from the 17th century to roughly the middle of the 19th century (in 1879, Queen Victoria did a crackdown on women at sea).
The idea that there were no women at sea has been popularized by works of fiction, especially maritime adventures set during the Napoleonic wars (Master and Commander, Hornblower and others).
And that's without discussing the captains' wives on merchant vessels and whalers (in 1850, one sixth of whalers had the captain's wife on board).
2. A woman on board brings bad luck
Once again, works of fiction show sailors panicking/being angry/all freaked out because there is one woman on board.
In the Terror, there's a scene where Sir John comments on the fact that his wife gifted him a female monkey to bring along during the expedition.
The scene seems surreal compared to reality. These men wouldn't have lasted long in the real world.
In England, you had warships with 9 to 13 women on board. Some testimonies hint that there could have been more. We will sadly never know how many seagoing wives there were because they weren't entered in the ships' muster books, and therefore had no official existence.
Seagoing wives didn't break any taboos. They were after all devoting themselves to their husbands and being faithful helpmates. It was customary for the wives of warrant officers to go to sea. Occasionally, experienced seamen and petty officers brought their wives too. Add to that the captain's wife if she was there, and well, the number of women on board rises up very quickly.
With Rose's story, we see that she wasn't merely tolerated by the crew. After all, she was the captain's wife so they had no say in the matter. However, she won their admiration and affection. It once again helped that Rose fitted into the 'devoted wife' pattern.
I will stop here, even though I have many more things to say.
May I humbly suggest my own fanfictions? All chapters come with biographies and historical facts about women at sea. I try to depict the diversity of their experiences during the age of sail.
I have compiled a bibliography about women at sea. If you want, I would gladly share it.
Some resources if you want to start:
-Female Tars by Suzanne J. Stark is an excellent introduction. It discusses both seagoing wives and women disguised as men.
I shared an extract here: https://city-of-ladies.tumblr.com/post/819686443326799872/british-women-served-at-the-same-guns-with-their
These online articles will provide you with essential information:
Letter written by Henry VI concerning the removal of Eleanor Cobham, January 1442
By the King.
REVEREND Fader in God, right trusty and right welbeloved we grete you wel. And for asmoch as we have ordeined oure trusty and welbeloved knight Sir Thomas Stanley, countrollour of oure householde, to have the keping of Alianore Cobham late called Duchesse of Gloucestr, and, accompanied with certain personnes of our householde, to lede hir into the parties of Chesshire , where as she shal abide, We wol and charge you that under oure Seel , being in youre warde, ye do make oure Writtes and Commissions in deue fourme, as many and such as the cas shal require, for the Shirefs of the shires that she shal passe thourgh, and for other personnes of the same shire, as many as shal be thought necessary, to be awayting and assisting unto the conducting of hir; and that ye charge them that shal lede hir forth, that thei lette not, for sekenesse or ony dissimulacion of hir, to carie hir thedir as we have appointed. And that ye faille not herof as we truste you. Yeven under our Signet at our manoir of Shene the xix. day of Januer.
Source: Original Letters Illustrative of English Histories, 2nd series, Vol. 1, ed. Henry Ellis (1827)
(Some of) the professions that women could have in medieval Armenia
1. Վարձակ - Vardzak
An actress, singer and dancer in ancient and medieval Armenian theatre. Vardzak performed either naked or semi-naked.
2. Լալկան կանայք - Mournful women
These women sang sorrowful songs during burial ceremonies and were paid for it. They also wrote the songs. The lead singer was known as Եղերամայր 'Yegheramayr'. The Armenian medieval poet Grigor Narekatsi wrote that he had learned tear-inducing lines from them. This profession was practised up until the 19th century.
3. Դյութ (Dyut)֊ Witch/Warlock
Dyut could be anyone who was literate, including both women and men. They were considered to be those who used different substances and objects, such as flour, stones, water and sand.
4. Թովիչ (tovich) - Enchanter
These women were said to be able to cure illnesses through their sweet and enchanting speech. They "cured" rib pain by rubbing a sword on the patient's ribs, and they "cured" jaundice by slapping the patient without warning to make the illness run away.
#it's funny to an extent but after a point it gets very grating#he has a wealth of information but he's far too sensationalistic and florid#and tends to choose the most unsympathetic and/or colorful interpretation of every situation and historical figure#he also has a habit of ... narrativizing history which doesn't really work for me#also his fatphobia re Edward IV was absolutely revolting
#I was planning on ordering the Winter King but after looking at the synopsis and first 2 chapters that were available online - no thanks#I'm definitely not interested in reading about Henry VII supposedly being 'sinister' and 'Machiavellian' because he...ruled successfully?#because he did what kings (unfortunately) did all the time? How was he any different from the others?#also imagine calling *Henry VII* ruthless & unscrupulous when his predecessor murdered his own kid-nephews and his successor was Henry VIII#like please be serious
#I had the same issue with the way he described Edward IV's reign. Penn's descriptions of it were so theatrical and emphatic but#at the end of the day the things he was describing were very normal lol#or they would be normal if Penn didn't choose the most critical (and mocking tbh) perspective for every single thing#the way he described Henry VI's reign was also annoying but it thankfully had far less pagetime and was not the focus of his work#so it was comparatively more tolerable #and ig some of his analyses on Richard III were interesting. It helps that R3 had a very short and very dramatic reign from start to finish#so Penn's flourishing tone doesn't really feel out of place for it
The first woman ordained as a minister in the United States, Antoinette Brown Blackwell (1825–1921) was a pioneering advocate for women’s rights and the author of the first feminist critique of Darwin’s theories.
A powerful calling
The seventh of ten children, Antoinette was born in Henrietta, New York, and enjoyed a happy childhood in a loving family. She loved reading and writing and preferred them to domestic chores. After working as a teacher for a time, she enrolled at Oberlin College in 1846. She graduated from the Ladies’ Literary Course and later requested admission to the theological program.
Antoinette felt a profound calling to become a minister. After persistent efforts, she was allowed to attend the course and accept invitations to preach. She knew she would face considerable obstacles. One evening, while walking with her future sister-in-law, Lucy Stone, she shared her ambitions.
Lucy replied, not because she believed it was wrong for a woman to preach, but because she knew the system was stacked against her:
“You will never be allowed to do this. You will never be allowed to stand in a pulpit, nor to preach in a church, and certainly you can never be ordained.”
Antoinette simply answered:
“I am going to do it.”
Lucy’s prediction proved partly correct. After completing her studies, Oberlin refused to include Antoinette among its graduates and denied her a license to preach.
Fighting for women’s rights
Antoinette refused to abandon her dream. To earn a living, she delivered lectures on women’s rights and abolitionism. On one occasion, when a stagecoach was too full to take her to a speaking engagement, she walked seven and a half miles through a snowstorm. In 1850, she gave a speech challenging biblical passages that forbade women from speaking in public.
Facing a hostile male audience in 1853, Antoinette remained steadfast. She later recalled:
“There were angry men confronting me, and I caught the flashing of defiant eyes; but above me, and within me, and all around me, there was a spirit stronger than they all. At that moment not the combined powers of earth and hell could have tempted me to do otherwise than stand firm.”
A preacher for the people
On September 15, 1853, Antoinette was finally ordained as a minister by the First Congregational Church in Butler and Savannah, Wayne County. She nevertheless encountered difficulties in her ministry, particularly because of health problems.
In 1856, she married Samuel Blackwell, the brother of pioneering physician Elizabeth Blackwell. Together they had five daughters. Preaching remained Antoinette’s true calling, and she resolved to become “a preacher for the people.”
She seized every opportunity to travel and preach. Later, she served as a supply pastor for a Unitarian congregation that met in a rented hall. She delivered her final sermon there in 1915, at the age of ninety.
Science for and by women
A prolific writer with a curious mind, Antoinette developed a deep interest in science. In 1869, she published Studies in General Science, followed by The Sexes Throughout Nature.
Antoinette strongly disagreed with Darwin’s claim that evolution demonstrated the superiority of men over women. She believed that his conclusions about male intellectual and artistic superiority were fundamentally flawed. Rather than responding with moral arguments alone, she sought to challenge his reasoning on scientific grounds. Although she had no formal scientific training, she was widely read and carefully studied the available research. She even sent Darwin a copy of her book.
She argued that male scientists were inevitably biased, describing them as:
“a learned masculine eminence, looking from their isolated male standpoints through their men’s spectacles and through the misty atmosphere of entailed hereditary glamour."
She therefore insisted on the importance of women studying women:
“Only a woman can approach the subject from a feminine standpoint; and there are none but beginners among us in this class of investigations.”
Antoinette believed that scientific methods could advance women’s rights if women themselves took part in producing knowledge. Science conducted by men could not provide an accurate understanding of women. To understand women properly, scholars had to listen to women themselves.
In The Sexes Throughout Nature, she compared males and females across numerous species and concluded that each sex possessed different strengths that ultimately balanced one another. Lions, for example, might be physically larger, but lionesses performed many of the more complex and essential functions.
The right to vote
As a lifelong advocate for women’s rights, Antoinette lived to witness one of the movement’s greatest achievements. She was among the last surviving leaders of the American women’s suffrage movement when the Nineteenth Amendment was ratified in 1920, guaranteeing women the right to vote. At the age of ninety-five, she was finally able to cast her own ballot.
If you enjoy this blog, consider supporting me on Ko-fi!
Further reading:
“About Antoinette Brown Blackwell” - Antoinette Brown Blackwell Society
Hamlin Kimberly A., From Eve to Evolution: Darwin, Science, and Women's Rights in Gilded Age America
Rubin Rebekkah, “The Woman Who Challenged Darwin’s Sexism”
Zink-Sawyer Beverly, From Preachers to Suffragists: Woman's Rights and Religious Conviction in the Lives of Three Nineteenth-Century
We cannot live in a world that is not our own, in a world that is interpreted for us by others. An interpreted world is not a home. Part of the terror is to take back our own listening, to use our own voice, to see our own light.
pixelskylines
theartofmadeline
kianamaiart
jacobvanloon
2087
titsay
prguitarman
gracieabrams
