The Women’s Review of Books Vol. XX, No. 4 January 2003 74035 $4.00 In This Issue As the expatriate British wife of a Sudanese guerrilla leader, Emma McCune desperately wanted to be “a bridge between black and white”: Sondra Hale reviews Emma’s War, Deborah Scroggins’ story of an unlike- ly figure caught up in a perennial war that few Westerners care about, p. 9. “Naomi Klein’s forte is in-the- trenches journalism,” writes Kerryn Higgs in a reading of Fences and Windows, the successor to Klein’s best- selling No Logo,p.5. Drinking, like other kinds of con- sumption, has a gendered history of its own: Mariana Valverde reads Love on the Rocks, Lori Rotskoff ’s perceptive account of the invention of alcoholism Emma McCune and her husband Riek Machar with in the twentieth century, p. 19. their bodyguards. From Emma's War. “Through the themes of time, per- sonality, bodily transformation, all three poets address the narrative content of their lives, and use language to inscribe The second time around heaven on earth,” writes Judith Harris by Heather Love in a review of new poetry by Betty Adcock, Ellen Bryant Voigt and Hilda This Bridge We Call Home: Radical Visions for Transformation Raz, p. 17. edited by Gloria E. Anzaldúa and AnaLouise Keating. New York: Routledge, 2002, 624 pp., $24.95 paper. The constraints and stereotypes of 1950s femininity seem quaint and amusing to younger women, but they n 1981, Gloria Anzaldúa and Cherríe real urgency. It is a sign of its continuing were all too real for those who rebelled Moraga published This Bridge Called My importance that AnaLouise Keating and against them: Emily Toth looks at the I Back: Writings by Radical Women of Color,a Anzaldúa have published a new anthology, generation gap that opens up in Lynn book that changed the practice and politics This Bridge We Call Home: Radical Visions for Peril’s Pink Think: Becoming a Woman in of feminism in the United States. As early as Transformation, that attempts to assess its 1987, Teresa de Lauretis traced a “shift in impact, to offer new perspectives on its Many Uneasy Lessons,p.13. feminist consciousness” to the publication themes, and to work toward a political vision of this and the 1982 collection But Some of for the twenty-first century. and more... Us Are Brave: Black Women’s Studies, edited by In her preface, Anzaldúa writes that This Gloria T. Hull, Patricia Bell Scott and Bridge We Call Home is intended to “take the Barbara Smith. These two books, she wrote, model provided by This Bridge Called My Back “first made available to all feminists the feel- and give it a new shape.” The earlier collec- ings, the analyses, and the political positions tion offered a rich and diverse account of of feminists of color, and their critiques of the experience and analyses of women of white or mainstream feminism.” Yet the sit- color; with its collective ethos, its politics of uation of women of color remains dire, and rage and regeneration, and its mix of poetry, PRINTED IN THE USA This Bridge continues to speak to readers with continued on page three The Women’s Review Contents of Books Wellesley College Center for Research on Women 1 Heather Love This Bridge We Call Home: Radical Visions for Transformation edited by Wellesley, MA 02481 Gloria E. Anzaldúa and AnaLouise Keating (781) 283-2087/ (888) 283-8044 www.wellesley.edu/WomensReview 4 Letters Volume XX, No. 4 January 2003 5 Kerryn Higgs Fences and Windows: Dispatches from the Front Lines of the Globalization Debate by Naomi Klein EDITOR IN CHIEF: Linda Gardiner PRODUCTION EDITOR: Amanda Nash 6 Carol Anshaw Miniatures by Norah Labiner CONTRIBUTING EDITORS: Martha Nichols, Jan Zita Grover Jo Ann Citron Equality Practice: Civil Unions and the Future of Gay Rights 7 POETRY EDITOR: Robin Becker by William N. Eskridge, Jr. ADVERTISING MANAGER: Anita D. McClellan 9 Sondra Hale Emma’s War by Deborah Scroggins OFFICE MANAGER: Nancy Wechsler EDITORIAL BOARD: Margaret Andersen 10 Patricia Moran My Father’s Ghost: The Return of My Old Man and Other Second Chances Robin Becker Claudia M. Christie by Suzy McKee Charnas Marsha Darling Anne Fausto-Sterling Carol Gilligan Sandra Harding Nancy 11 Marilyn Booth Walking Through Fire: A Life of Nawal El Saadawi by Nawal El Saadawi Hartsock Carolyn Heilbrun Evelyn Fox Keller Jean Baker Miller Ruth Perry 12 Laura Green Eat My Words: Reading Women’s Lives Through the Cookbooks They Wrote Peggy Phelan Helene Vivienne Wenzel by Janet Theophano EDITORIAL POLICY: Emily Toth Pink Think: Becoming a Woman in Many Uneasy Lessons by Lynn Peril The Women’s Review of Books is feminist but not 13 restricted to any one conception of feminism; all writing that is neither sexist, racist, homo- 14 Julia Cole Two Poems phobic, nor otherwise discriminatory will be welcome. We seek to represent the widest 15 Leslie Brokaw Kitchen Table Entrepreneurs: How Eleven Women Escaped Poverty and Became possible range of feminist perspectives both Their Own Bosses by Martha Shirk and Anna S. Wadi in the books reviewed and in the content of the reviews. We believe that no one of us, 16 Sally Sommer Rockin’ Out of the Box: Gender Maneuvering in Alternative Hard Rock alone or in a group, can speak for feminism, by Mimi Schippers or women, as such; all of our thinking and writing takes place in a specific political, 17 Judith Harris Intervale: New and Selected Poems by Betty Adcock; Shadow of Heaven: Poems social, ethnic and sexual context, and a responsible review periodical should reflect by Ellen Bryant Voigt; Trans by Hilda Raz and further that diversity. The Women’s Review takes no editorial stance; all the views 18 Nan Alamilla Boyd The Girls in the Back Room: Looking at the Lesbian Bar by Kelly Hankin expressed in it represent the opinion of the individual authors. 19 Mariana Valverde Love on the Rocks: Men, Women, and Alcohol in Post-World War II America by Lori Rotskoff ADVERTISING POLICY: The Women’s Review accepts both display and 20 Ellyn Kaschak Woman-to-Woman Sexual Violence: Does She Call It Rape? by Lori B. Girshick; classified advertising. Classified rates are No More Secrets: Violence in Lesbian Relationships by Janice Ristock $1.15 per word, with a ten word minimum. The base rate for display ads is $53 per col- Carolyne Wright Two Poems umn inch; for more information on rates and 21 available discounts, call or write to the adver- Cecilia Tan The Battle of the Sexes in Science Fiction by Justine Larbalestier tising manager. The Women’s Review will not 22 accept advertising which is clearly inappropri- Books Received ate to the goals of a feminist publication; 23 however, as we are unable to investigate the accuracy of claims made by our advertisers, publication of an advertisement does not rep- resent endorsement by The Women’s Review. Contributors Advertising inquiries: call 781-283-2560. CAROL ANSHAW is the author of the novels Aquamarine, Seven Moves and, most recently, Lucky in the Corner. She teaches in the MFA in Writing program at the School of the Art Institute of Chicago. The Women’s Review of Books (ISSN #0738- MARILYN BOOTH is visiting associate professor in the department of comparative literature at Brown University. She has published two academic 1433) is published monthly except August by books, most recently May Her Likes Be Multiplied: Biography and Gender Politics in Egypt (University of California Press, 2001), and essays on early feminism in The Women’s Review, Inc., 828 Washington Egypt, masculinity and nationalism, censorship, and colloquial Arabic poetry. Her most recent translations of Arabic fiction are Somaya Ramadan, Leaves of Street, Wellesley, MA 02481. Annual subscrip- Narcissus (2002), Ibtihal Salem, Children of the Waters (2002), Hoda Barakat, The Tiller of Waters (2001), and Latifa al-Zayyat, The Open Door (2000). tions are $27.00 for individuals and $47.00 for NAN ALAMILLA BOYD is an assistant professor in the women’s studies program at the University of Colorado, Boulder where she teaches courses in institutions. 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