Miriam Michelson – författare

The Superwoman and Other Writings by Miriam Michelson is the first collection of newspaper articles and fiction written by Miriam Michelson (1870-1942), best-selling novelist, revolutionary journalist, and early feminist activist. Editor Lori Harrison-Kahan introduces readers to a writer who broke gender barriers in journalism, covering crime and politics for San Francisco's top dailies throughout the 1890s, an era that consigned most female reporters to writing about fashion and society events. In the book's foreword, Joan Michelson-Miriam Michelson's great-great niece, herself a reporter and advocate for women's equality and advancement-explains that in these trying political times, we need the reminder of how a ""girl reporter"" leveraged her fame and notoriety to keep the suffrage movement on the front page of the news. In her introduction, Harrison-Kahan draws on a variety of archival sources to tell the remarkable story of a brazen, single woman who grew up as the daughter of Jewish immigrants in a Nevada mining town during the Gold Rush.The Superwoman and Other Writings by Miriam Michelson offers a cross-section of Michelson's eclectic career as a reporter by showcasing a variety of topics she covered, including the treatment of Native Americans, profiles of suffrage leaders such as Susan B. Anthony and Charlotte Perkins Gilman, and police corruption. The book also traces Michelson's evolution from reporter to fiction writer, reprinting stories such as ""In the Bishop's Carriage"" (1904), a scandalous picaresque about a female pickpocket; excerpts from the Saturday Evening Post series, ""A Yellow Journalist"" (1905), based on Michelson's own experiences as a reporter in the era of Hearst and Pulitzer; and the title novella, The Superwoman, a trailblazing work of feminist utopian fiction that has been unavailable since its publication in The Smart Set in 1912. Readers will see how Michelson's newspaper work fueled her imagination as a fiction writer and how she adapted narrative techniques from fiction to create a body of journalism that informs, provokes, and entertains, even a century after it was written.

The Superwoman and Other Writings by Miriam Michelson is the first collection of newspaper articles and fiction written by Miriam Michelson (1870-1942), best-selling novelist, revolutionary journalist, and early feminist activist. Editor Lori Harrison-Kahan introduces readers to a writer who broke gender barriers in journalism, covering crime and politics for San Francisco's top dailies throughout the 1890s, an era that consigned most female reporters to writing about fashion and society events. In the book's foreword, Joan Michelson-Miriam Michelson's great-great niece, herself a reporter and advocate for women's equality and advancement-explains that in these trying political times, we need the reminder of how a ""girl reporter"" leveraged her fame and notoriety to keep the suffrage movement on the front page of the news. In her introduction, Harrison-Kahan draws on a variety of archival sources to tell the remarkable story of a brazen, single woman who grew up as the daughter of Jewish immigrants in a Nevada mining town during the Gold Rush.The Superwoman and Other Writings by Miriam Michelson offers a cross-section of Michelson's eclectic career as a reporter by showcasing a variety of topics she covered, including the treatment of Native Americans, profiles of suffrage leaders such as Susan B. Anthony and Charlotte Perkins Gilman, and police corruption. The book also traces Michelson's evolution from reporter to fiction writer, reprinting stories such as ""In the Bishop's Carriage"" (1904), a scandalous picaresque about a female pickpocket; excerpts from the Saturday Evening Post series, ""A Yellow Journalist"" (1905), based on Michelson's own experiences as a reporter in the era of Hearst and Pulitzer; and the title novella, The Superwoman, a trailblazing work of feminist utopian fiction that has been unavailable since its publication in The Smart Set in 1912. Readers will see how Michelson's newspaper work fueled her imagination as a fiction writer and how she adapted narrative techniques from fiction to create a body of journalism that informs, provokes, and entertains, even a century after it was written.

The story began in a busy train station. Tom stole a pocket watch, gave it to Nance, and then made a scene while she was hiding in the women's waiting area. Nance performed her role so expertly that the attendant provided her with a gorgeous crimson robe and hood when she asked for them and she went out wearing them. She rushed into a waiting wagon to take cover after being discovered, though. When she had settled and they were ready to leave, the bishop's carriage had already arrived. Now what? Nance performed her role flawlessly, charming the bishop and his family before fleeing. It was a fantastic beginning to a narrative that would advance at a breakneck pace. Nance grabbed her opportunities and started to advance in society. She gained friends along the way, but she was also followed by others who knew about her notoriety and her background. She was drawn to beautiful things because of the reassurance they provided and wanted to share them with other people. And she realized every bit of her potential.

The story began in a busy train station. Tom stole a pocket watch, gave it to Nance, and then made a scene while she was hiding in the women's waiting area. Nance performed her role so expertly that the attendant provided her with a gorgeous crimson robe and hood when she asked for them and she went out wearing them. She rushed into a waiting wagon to take cover after being discovered, though. When she had settled and they were ready to leave, the bishop's carriage had already arrived. Now what? Nance performed her role flawlessly, charming the bishop and his family before fleeing. It was a fantastic beginning to a narrative that would advance at a breakneck pace. Nance grabbed her opportunities and started to advance in society. She gained friends along the way, but she was also followed by others who knew about her notoriety and her background. She was drawn to beautiful things because of the reassurance they provided and wanted to share them with other people. And she realized every bit of her potential.