Tag Archives: women’s history

Queen Victoria

Continuing with Women’s History Month 2019, here are a reading on Queen Victoria and a vocabulary-building and comprehension worksheet to accompany it. Given her outsized influence in British history, as well as the adjectival form of her name–Victorian–serving as a metaphor for a kind of stuffy, repressed age, whenever and wherever it occurs–she seems to me someone with whom students should have at least a passing familiarity.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Algonquin Wits: Tallulah Bankhead Reviews a Film

“After sitting through the preview of a strikingly bad movie made by an independent producer, Tallulah observed, ‘What I don’t see is what that producer has got to be independent about.'”

Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.

Cultural Literacy: Marian Anderson

It’s Monday again, the first of Women’s History Month 2019, which Mark’s Text Terminal will observe with Women’s History-related posts for the entire month. Here is a Cultural Literacy worksheet on Marian Anderson. I am happy to report that the authors, even in the squib that serves as a reading for this worksheet, mentioned the ugly racist indignity Ms. Anderson suffered in 1941.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Zora Neale Hurston on Melancholy

“I do not weep at the world—I am too busy sharpening my oyster knife.”

Zora Neale Hurston

World Tomorrow “How It Feels to be Colored Me”

Excerpted from: Shapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

The Weekly Text, March 1, 2019, Women’s History Month 2019 Week I: A Reading and Comprehension Worksheet on Journalist Ida B. Wells

Today begins Women’s History Month 2019. That means every blog post on Mark’s Text Terminal during the month of March will be related in some way to the contributions of women to the world.

This reading on Ida B. Wells, the legendary journalist and anti-lynching activist, and its accompanying vocabulary-building and comprehension worksheet serve as a nice link between Black History Month and Women’s History Month. Here, also, is flexible ancillary worksheet that I’ve just begun to write for these readings. I’m not sure where exactly (or even approximately, for that matter) I want to take these worksheets, but the basic idea is to move students along by asking them deeper, more inferential and analytical questions.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Toni Cade Bambara

“(Born Miltona Mirkin Cade, 1939-1995): American short-story writer, novelist, and editor. Known as a writer and social activist, Bambara focused on issues of racial awareness and feminism. Her first, most widely read collection of stories, Gorilla, My Love (1972), depicts a young, sensitive black girl and her family and community as she grows up in a world of racial, sexual, and economic inequality. Her second collection, The Sea Birds Are Still Alive (1977), portrays the intense conflicts among people, especially women, involved in intimate relationships. Interested in black liberation and women’s movements during the 1970s, Bambara edited and contributed to The Black Women: An Anthology (1970), one of the early collections of feminist writing. Her novel, The Salt Eaters (1980), set in Claybourne, Georgia, deals with the recovery of the revolutionary community organizer Velma Henry from an attempted suicide.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Maya Angelou as Dramaturge

“Blacks should be used to play whites. For centuries, we had probed their faces, the angles of their bodies, the sounds of their voices, and even their odors. Often our survival had depended on the accurate reading of a white man’s chuckle, or the disdainful wave of a white woman’s hand.”

Maya Angelou

The Heart of a Woman, ch. 12 (1981)

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Lorraine Hansberry

Lorraine Hansberry has crossed my radar screen several times recently: she was the subject of a PBS American Masters series, and she is featured prominently in Raoul Peck’s superlative documentary, James Baldwin: I Am Not Your Negro. Lorraine Hansberry and James Baldwin were great friends, and her early death was a great tragedy for him, and for the theater.

Here, hot off the press, is a reading on playwright Lorraine Hansberry and its attendant vocabulary-building and comprehension worksheet.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Phillis Wheatley

Although I’d been aware of her since high school, I wasn’t aware of the indignities she endured as the first African-American writer to publish in North America. This reading on early African-American poet Phillis Wheatley (with its accompanying vocabulary building and comprehension worksheet) does a nice job of exposing that particular disgrace on the part of white Boston elites.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

for colored girls who have considered suicide when the rainbow is not enough

A play (1974) by the US writer Ntozake Shange (b. 1948) consisting of 20 ‘choreopoems’ about the experience of African-American women in modern Western society. One of the longest running shows in Broadway history, the play’s extraordinary title, with its unconventional spellings and rejection of accepted grammatical rules, was intended by the author to represent the independence of African-American culture from Western influence. The mutilation of words throughout the title and text are reportedly meant to remind the reader of the mutilation of African slaves through branding and other punishments.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.