Maureen Honey – författare

The New Woman-an independent, nontraditional, usually career-minded woman for whom marriage and family were secondary-became a popular heroine in women's magazine fiction from the time of World War I through the 1920s. During this period, American culture entertained a new, feminist vision of gender roles that helped pave the way for modern images of women in public activity. The stories in this collection are drawn from the biggest periodicals of the day-Ladies' Home Journal, Cosmopolitan, Good Housekeeping, Woman's Home Companion, and McCall's-as well as the African-American magazine The Crisis. Each story is rooted in some dimension of contemporary feminism and explores a topic of continuing importance, such as solidarity among women, the lives of women of color and working-class women, sexual harassment, lesbian love, family and marital bonds, and women's relation to paid employment.

In this important new anthology, Venetria K. Patton and Maureen Honey bring together a comprehensive selection of texts from the Harlem Renaissance-a key period in the literary and cultural history of the United States. The collection revolutionizes our way of viewing this era, since it redresses the ongoing emphasis on the male writers of this time. Double-Take offers a unique, balanced collection of writers-men and women, gay and straight, familiar and obscure. Arranged by author, rather than by genre, this anthology includes works from major Harlem Renaissance figures as well as often-overlooked essayists, poets, dramatists, and artists. The editors have included works from a wide variety of genres-poetry, short stories, drama, and essays-allowing readers to understand the true interdisciplinary quality of this cultural movement. Biographical sketches of the authors are provided and most of the pieces are included in their entirety. Double-Take also includes artwork and illustrations, many of which are from original journals and have never before been reprinted. Significantly, Double-Take is the first Harlem Renaissance title to include song lyrics to illustrate the interrelation of various art forms.

Madame Butterfly (1898) and A Japanese Nightingale (1901) both appeared at the height of American fascination with Japanese culture. These two novellas are paired here together for the first time to show how they defined and redefined contemporary misconceptions of the "Orient." This is the first reprinting of A Japanese Nightingale since its 1901 appearance, when it propelled Winnifred Eaton (using the pseudonym Onoto Watanna) to fame. John Luther Long's Madame Butterfly introduced American readers to the figure of the tragic geisha who falls in love with, and is then rejected by, a dashing American man; the opera Puccini based upon this work continues to enthrall audiences worldwide. Although Long emphasized the insensitivity of Westerners in their dealings with Asian people, the ever-faithful Cho-Cho-San typified Asian subservience and Western dominance. A Japanese Nightingale takes Long's revision several steps further. Eaton's heroine is powerful in her own right and is loved on her own terms. A Japanese Nightingale is also significant for its hidden personal nature. Although Eaton's pen name implied she was Japanese, she was, in fact, of Chinese descent. Living in a society that was virulently anti-Chinese, she used a Japanese screen for her own problematic identity, and A Japanese Nightingale tells us as much about the author's struggle to embrace her Asian heritage as it does about the stereotypes she contests.