Product Description

As she did with Martin Guerre, Natalie Zemon Davis here retrieves individual lives from historical obscurity. Equally remarkable though very different, the three women profiled here--one a Jewish merchant and mother of twelve, one a Catholic mystic visionary, and one a Protestant painter and naturalist--left behind memoirs and writings that make for spellbinding tales. 41 halftones .

Product Details

• Amazon Sales Rank: #212187 in Books
• Published on: 1997-04-25
• Original language: English
• Number of items: 1
• Binding: Paperback
• 372 pages

From Library Journal
Davis (The Return of Martin Guerre, LJ 9/1/83) explores the lives and times of three 17th-century women. Glial BAS Judah Leb., a merchant; Marie de l'Incarnation, a nun; and Maria Sibylla Merian, a painter and naturalist, all moved beyond the usual female sphere as delimited by their societies. The latter two left urban Europe for the wilds of the Americas, where one established a school for Native American girls and the other researched native insects. Glial, widowed early, supported herself and her children within the Jewish community. She places these women in the context of their time and society and includes rich detail concerning vernacular literature, religion, and familial relationships. She also demonstrates the careers open to women of ability and determination. Highly recommended for academic libraries and women's collections generally.
Sharon Firestone, Ross-Blakley Law Lib., Arizona State Univ., Tempe
Copyright 1995 Reed Business Information, Inc.

Review
Individual lives of three selected seventeenth-century women are selected for feature and historical examination, illuminating the daily lives a Jewish, Catholic and Protestant woman living "on the margins" in Europe, North and South America. It's a pleasure to see the contrast in cultures and daily lives during the same times. -- Midwest Book Review

Review
[This] stylishly sketched seventeenth- and eighteenth-century biographical triptych is yet another exploration of how the modest in early modern Europe strove to fashion identities for themselves, but it is also more.
--Arthur Quinn (New York Times Book Review )

A treasure. Davis has written a scholarly...and multilayered history...Her three subjects come alive.
--Ruth Johnstone Wales (Christian Science Monitor )

Davis's work has always reached beyond fashionable trends to communicate with a wider audience. Where feminist historians have often inveighed against writing women's history in order to supply us with heroines, Davis gives us three rounded portraits of strong early modern women with whom we are certainly encouraged to identify, and whose dilemmas are not unlike our own. Where early modern historians insist on the ubiquity of patriarchy, Davis presents us with hard-working, bread-winning women, never submerged in motherhood and never obliterated as wives...All that Davis writes springs from careful, critical consideration of the mass of theoretical writing that has recently appeared on women's writing and historical anthropology: none of it clutters her text...For Davis, the historian is a teller of stories. Her book can be read as a way of writing history which does not collar the reader with direct argument or interpretation, but which seeks instead to provoke the imagination. Davis begins with a fictitious dialogue between herself and the three women whose lives she has chronicled, an imaginative risk few scholars would care to take. This is the sort of book that lingers in the mind. In time, one realizes that what Natalie Zemon Davis has accomplished is a new way of thinking about the relations between the Old World and the New, between women and men, mothers and children; and a vast opening up of the territory of the historian.
--Lyndal Roper (Times Literary Supplement )

A marvelous book.
--Lorna Sage (Los Angeles Times Book Review )

In an extraordinary work of scholarship, Natalie Zemon Davis...has brought together within the pages of one book three 17th-century European women who lived lives of daring and accomplishment on 'the margins.' Davis sets out to demonstrate that, in their work far from the centres of power, Glikl bas Judah Leib, Marie de l'Incarnation, and Sibylla Merian were not only breaking new ground for women, but that in doing so they were in some ways morally superior to the men of their day.
--Katherine Govier (Toronto Star )

One of the most inspired historians of early modern France has pushed out the usual borders of female blazons by choosing three women who weren't muses, mistresses or martyrs...Davis has chosen three personalities of singular gifts and appetite for self-transformation, and the strength of character to achieve it.
--Marina Warner (Independent on Sunday )

A deeply committed but also pleasantly discursive history of women living on the fringes of Europe's early modern culture.
--Robin Blake (Independent on Sunday )

Through intimate studies of three seventeenth-century women, [Natalie Zemon Davis] reconstructs histories that both fill out the conceptual frameworks of early modern women's history, and challenge them...One of the great values of Davis's work is the precision with which it tracks its subjects through the multiple domains of their lives: from convent to new frontier, from home to marketplace, from the field to the drawing board...Their lives, as reconstructed through Davis's meticulous and compelling narrative, also shed light on a whole range of social, spiritual and cultural worlds for women, marginalized from much historical narrative...It ends by unsettling the most obvious frameworks for early modern women's history--the household, the workshop, the church--and by demanding historical space for the explorations, the reflections, and the ordinary physical experiences of its subjects.
--Laura Gowing (History Workshop Journal )

Natalie Davis tells a good story, as those who have read her classic, The Return of Martin Guerre, will know...Here she tells three good stories.
--William Lamont (History Today )

Davis has a rare talent: she is both an accomplished historian and a capable writer. While she remains true to her discipline as a historian, she retells Glickl's entertaining didactic stories and recounts the adventures of Marie and Maria in vivid and appealing language.
--Leslie Cohen (Jerusalem Post Literary Supplement )

Davis's finely wrought book works as a triptych; each life is closely observed, but thrown into relief by its relation to the others.
--Ben Rogers (Guardian )

A splendid reconstruction of the particular worlds of three 17th-century women...[Zemon Davis] makes these lives shimmer...She also puts together a formidable history with the kind of scholarly apparatus that would gratify the Harvard academy but should not daunt any reader.
--Morag Fraser (Sydney Morning Herald )

Davis, with customary virtuosity, explores the lives of Glikl bas Judah Leib, a Jewish merchant woman; Marie Guyart, known as Marie de l'Incarnation, mystic and co-founder of the first Ursuline school for girls in North America; and Maria Sibylla Merian, an artist-naturalist and author...Davis was aided in her efforts to bring these women to life through an abundant variety of source material...[She] adds to these sources, as she did in The Return of Martin Guerre, by plumbing the archives--but also by bringing her own extensive historical knowledge and imagination to this work. The result is a richly textured treatment of the lives and times of each of these women...All three women are fascinating, and Davis offers a creative and compelling look at her subjects...[A] rich and original book...Clearly, these women had an impact in their worlds, and their stories are well worth reading today.
--Christine Adams (Journal of Social History )

This erudite and audacious book, like its subjects, occupies margins. Not only is it about women, a subject that a quarter century after Davis and Jill Conway created their justly renowned undergraduate course at the University of Toronto is still at the margins of most university instruction, it also appeals simultaneously to popular and academic audiences; it explores a little used genre of 'comparative biography', it crosses disciplinary boundaries; and perhaps most controversially, it challenges traditional categories of historical proof. (Canadian Journal of History )

Within a relatively short book--the text itself is only 216 pages--Natalie Davis brings together nearly every trend in recent historical scholarship, including some that are usually viewed as mutually exclusive, but does in a way that never seems trendy. (Sixteenth Century Journal )

Ms. Davis accomplishes a kind of intellectual midwifery, expanding our understanding of European and American, women's and Jewish history. Her research findings are artfully woven into the fabric of three narratives, enhancing their ability to successfully transport the reader into a confrontation with the mind-sets of earlier times. She also gives today's readers heroic role models; these are women who rose above constricting circumstances. Detailed evidence of intelligence, resilience and determination make these stories radiant and inspiring, despite the grim events which often saddened and frustrated the women who lived them...A thoughtful, compelling narrative, distinguished by rich details and a passionately empathetic historical imagination.
--Sylvia Barack Fishman (Forward )

With her characteristically deft skills as a storyteller, Ms. Davis brings her subjects alive in vivid stories that will surely be much discussed by historians. (Virginia Quarterly Review )

Customer Reviews

Three fascinating lives
Davis takes the reader deep into the lives of three quite different European women of the 1600s, showing how they courageously face family and career challenges. Each story is amazing. Catholic widow Marie Guyart goes to the wilderness of Canada to help found the Quebec branch of the Ursuline teaching order. Jewish mother of 14 children, Glikl von Hameln is a successful business woman, both as her husband's chief assistant and as a widow. Divorced Protestant Maria Merian supports herself and her daughters through her engravings based on her own ecological observations of caterpillars native to Europe and northern South America. I particularly enjoyed learning about Merian because I have been impressed by her elegant work which I have seen in a number of museums including the National Museum of Woman in the Arts in Washington, D.C.