The Equivalents
A Story of Art, Female Friendship, and Liberation in the 1960s
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- 10,99 €
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- 10,99 €
Beschreibung des Verlags
FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD
In 1960, Harvard’s sister college, Radcliffe, announced the founding of an Institute for Independent Study, a “messy experiment” in women’s education that offered paid fellowships to those with a PhD or “the equivalent” in artistic achievement. Five of the women who received fellowships—poets Anne Sexton and Maxine Kumin, painter Barbara Swan, sculptor Marianna Pineda, and writer Tillie Olsen—quickly formed deep bonds with one another that would inspire and sustain their most ambitious work. They called themselves “the Equivalents.” Drawing from notebooks, letters, recordings, journals, poetry, and prose, Maggie Doherty weaves a moving narrative of friendship and ambition, art and activism, love and heartbreak, and shows how the institute spoke to the condition of women on the cusp of liberation.
“Rich and powerful. . . . A love story about art and female friendship.”
—Harper’s Magazine
“Reads like a novel, and an intense one at that. . . . The Equivalents is an observant, thoughtful and energetic account.”
—Margaret Atwood, The Globe and Mail (Toronto)
PUBLISHERS WEEKLY
Harvard University lecturer Doherty debuts with an elegant, novelistic history of the Radcliffe Institute for Independent Study and its influence on the lives and careers of five female artists and the women's movement at large. Founded by the president of Radcliffe College in 1960, the institute accepted women with PhDs or "the equivalent," providing them with a stipend, library access, a private office, and "a community of the like-minded." Doherty centers her account on a group of friends and collaborators who attended the institute from 1961 to 1963: poets Anne Sexton and Maxine Kumin, writer and communist organizer Tillie Olsen, painter Barbara Swan, and sculptor Marianna Pineda. Though the complex yet creatively fruitful relationship between Sexton and Kumin takes center stage, Olsen emerges as "the most politically conscious" member of the group, a forceful critic of the institute's premise that motherhood and intellectual work were mutually sustaining, who anticipated emerging fault lines within the women's movement at the intersections of race, class, and gender. Doherty's prose dazzles, and she skillfully integrates her copious research into the narrative while toggling between biographical, creative, and political matters. This empathetic, wide-angled portrait will resonate with fans of the individual artists as well as feminists and readers of women's history.
