Mary Wollstonecraft

This biographical novel is a fictionalized historical account of the birth of Mary Wollstonecraft’s daughter and the days immediately following. Wollstonecraft was courageous, with a sensibility and mind well ahead of her time, and this well-researched and well-written novel reveals her intelligence and essence. A highly-regarded feminist philosopher in the 1700s, she authored the groundbreaking “A Vindication of the Rights of Woman,” and succeeded in living an independent life, living by the pen, as they say. She believed all women deserved the same education as men. The story, her story, is populated with her friends, illustrator and educator Fanny Blood, educator Jane Arden, her publisher Joseph Johnson, political philosopher, Thomas Paine, her husband, philosopher William Godwin, the painter and writer Henry Fuseli, to name a few, plus, of course, her daughter, Mary Shelley, the acclaimed author of the horror novel, “Frankenstein.” The book is told with two voices: Mary W, addressing her daughter, who she will not live to raise, narrates the story of her life thus far, and Mrs. B, a compassionate midwife who stays fast by Mary’s side, recounting the present circumstances while she cares for Mary. It’s a stirring, revelatory tale of love and life and feminism, rich with revolutionary ideas and actual revolutionaries.

The sculptor Maggi Hambling has said she was surprised by the criticism of her Mary Wollstonecraft memorial. The naked figure of the 18th Century feminist went on display at Newington Green in Islington, north London, in November 2020. Hambling told BBC Radio 4's Today programme: "What sort of surprised me...

Feminists objected to the naked sculpture of Mary Wollstonecraft because they are in denial that women have bodies, its creator has claimed. Maggi Hambling said she was amused and surprised by the fuss over the statue, which was commissioned as a monument to “the foremother of feminism” and unveiled on Newington Green, north London, last year.

Maggi Hambling says she is “surprised” by the criticism she received after the naked statue of 18th century feminist icon Mary Wollstonecraft was erected in north London last year. Unveiled on Newington Green to honour her life and work, a swarm of protesters questioned why the only depiction of Wollstonecraft,...

Local author and screenwriter Samantha Silva is having a moment … or two. After dabbling with Hollywood — she’s sold film projects to Paramount, Universal, and New Line Cinema, to name a few — she spread her talents around. Her debut novel published in 2017, “Mr. Dickens and His Carol,” was widely acclaimed, and she is currently adapting it for the Seattle Repertory Theatre stage. “The Big Burn,” a short film she wrote and directed, premiered at the Sun Valley Film Festival in 2018. She’s written short fiction and essays that have appeared in One Story and LitHub. In 2020, she was named an Idaho Commission on the Arts Literary Fellow.

Samantha Silva Gets Some Writing Help from an Unconventional Source. It’s pre-pandemic November. I’m in New York on my birthday, a confluence that hasn’t happened in more than a decade, though I’m often in New York, and have a birthday reliably once a year. A friend gives me the present of a session with her long-time astrologer, John, who doesn’t nail everything all the time, but gets uncomfortably close, like when he predicted she’d have plumbing problems and she went home to a flood. The last time I saw him, I wanted to talk about my writing life. It’d been years of heartbreaking near misses as a screenwriter, I told him. What if I wrote a novel? He stared into the middle distance, where I guess all our birth charts live, and said, “Hmm. If you told me today you were writing a novel, I’d say, well, you could try. But five years from now? That I can see.”

Mary Wollstonecraft or Mary Shelley? How to Tell the Difference and Berkeley Talks transcript: How Mary Shelley's 'Frankenstein' took on a life of its own. Berkeley Talks transcript: How Mary Shelley's 'Frankenstein' took on a life of its own and Mary Wollstonecraft or Mary Shelley? How to Tell the Difference.

Prix Pictet, Confinement, Te Neues publishing, 104pp, £29.95 (hb) More than 40 photographers shortlisted for the prestigious Prix Pictet photography prize since 2008 cast their eye over a world depleted by the Cobid-19 pandemic in Prix Pictet, Confinement. High-profile names such as Naoya Hatakeyama of Japan, London-born Susan Derges and the US photographer Joel Sternfeld give their own personal responses, in texts and imagery, to the devastation caused by the coronavirus crisis. The US photojournalist Ed Kashi shows sufferers being transported to hospital by the emergency services while the French photographer Stéphane Couturier focuses on “buildings in Brasilia’s banking sector [representing] a world that has suddenly become obsolete”. Activist Shahidul Alam’s image is pithily summed up in its title: Artists protest against the Digital Security Act used to arrest artists and journalists during Covid-19, Dhaka, Bangladesh (2020).

In her writings, Mary Wollstonecraft flouted social norms. In life, she often defied her own pronouncements. A Puzzle about Belief In order to tackle the problem of meaning in general, we need to isolate some ... Philosophers have been been trying to better understand how knowledge works for centuries. Progress...

It is often all too easy to forget that significant historical figures - those at the forefront of new ways of thinking, whether that be Marxism or feminism - were individuals with likes, loves and lives of their own. Such is the case for the so-called 'mother of feminism', Mary Wollstoncraft (1759-1797), who history often mischaracterises as an overly serious moralist. It is this misconception that the Countess of St Andrews, Sylvana Tomaselli's new book brilliantly debunks, instead showing the pioneering womens' rights activist to have been a warm mother-of-two with a love of life.

“It’s marvellous, I think it is unbelievably beautiful,” said Hilary Everett, a retired social worker, as she walked past one of the most controversial, most debated and most polarising public artworks of 2020. But Michaela Crimmin, a reader in art passing by a few minutes later, disagreed: “I loathe it....