As a young girl, I thought I was a tomboy—or I wanted to be one, because the image of a “normal” girl was far too pink and frothy and shallow for my tastes. For me, being a tomboy was less about being boy-like than being unable to claim the markers of femininity. As a historian of women and girls, I wondered how young women saw their futures in this modernizing America, with its True Women and New Women and the opening of advanced education. Did tomboys grow into the rebels who changed the world? Or, like the tomboys in so many fictional stories, did they renounce their assertive sense of self upon marriage and motherhood?
American Tomboys is my answer to the question “when did it become a good thing for a girl to behave like a boy?” Although “tomboy” had been around since the 1500s, it did not become a term for girls until the Civil War era, and then only in the United States. After reading over a hundred diaries and memoirs, as well as juvenile fiction, plays, songs, and newspaper features, I came to see that the tomboy who emerged in the mid-nineteenth century was both a transgressive and conservative figure, depending on the perspective of the reader. We know a tomboy when we see one, but at the same time her identity is ambiguous—and therein lies the power of the tomboy.
This is the story of four sisters coming of age, but readers know that it’s really a book about Jo—the tomboy at its center. Jo March launched the tomboy as a quintessentially American girl icon, andLittle Women launched the juvenile publishing market for girls. It remains one of the most beloved books in the world. I read it every year and always come away with something different.
Louisa May Alcott shares the innocence of girlhood in this classic coming of age story about four sisters-Meg, Jo, Beth, and Amy.
In picturesque nineteenth-century New England, tomboyish Jo, beautiful Meg, fragile Beth, and romantic Amy are responsible for keeping a home while their father is off to war. At the same time, they must come to terms with their individual personalities-and make the transition from girlhood to womanhood. It can all be quite a challenge. But the March sisters, however different, are nurtured by their wise and beloved Marmee, bound by their love for each other and the feminine…
I’ve assigned this graphic memoir to college students, given it to young nieces, and sent a copy to my mom. Prince tells the familiar story of being identified by others as a tomboy and struggling to understand what that means and whether or not she accepts the term. It’s funny, poignant, and smart.
Growing up, Liz Prince wasn't a girly girl, dressing in pink tutus or playing Pretty Pretty princess like the other girls in her neighborhood. But she wasn't exactly one of the guys either, as she quickly learned when her Little League baseball coach exiled her to the outfield instead of letting her take the pitcher's mound. Liz was somewhere in the middle, and Tomboy is the story of her struggle to find the place where she belonged. Tomboy is a graphic novel about refusing gender boundaries, yet unwittingly embracing gender stereotypes at the same time, and realizing later in life…
Comedian Jessi Klein explores the nexus of American femininity and female masculinity in this hilarious memoir. I particularly love her pithy statements on how commercial culture sells a somewhat toxic form of femininity that can make even the most female-identified person reconsider their gender. She cuts to the heart of the tensions of growing up in a culture that places gender on a spectrum but continues to market it as an extreme binary.
Jessi Klein is not a girl's girl, or a woman's woman. Raised in Greenwich Village by parents who didn't notice if she wore the same pair of pants for months on end, she later learned that there were some essential lessons in femininity she'd been missing: how to get your butt to look like two round tennis balls (barre class); how to wait patiently for an engagement (get drunk by yourself at Logan Airport); and how to get over an ex in the age of Google (use the World Wide Web to discover everything about his new girlfriend). In this…
Gilder’s memoir of growing up in the 1860s as a boyish girl will seem remarkably contemporary to those who equate nineteenth-century girls and women with corsets and overly important etiquette. Gilder writes about baseball, pranks, and various attempts to look like a boy, confirming an instinctual tomboy identity even at a time when females could not legally wear pants.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and…
This one is for girls who want to know more about tomboys in the here and now. Davis essentially asks “how did we get to this time of transgender and nonbinary identity?” She interrogates the term “tomboy” as a way of understanding how our understanding of gender norms has changed and remained unchanged—at the same time.
Based on the author’s viral New York Times op-ed, this heartfelt book is a celebration and exploration of the tomboy phenomenon and the future of girlhood.
We are in the middle of a cultural revolution, where the spectrum of gender and sexual identities is seemingly unlimited. So when author and journalist Lisa Selin Davis's six-year-old daughter first called herself a "tomboy," Davis was hesitant. Her child favored sweatpants and T-shirts over anything pink or princess-themed, just like the sporty, skinned-kneed girls Davis had played with as a kid. But "tomboy" seemed like an outdated word—why use a word with "boy"…
Meet Lev Gleason, a real-life comics superhero! Gleason was a titan among Golden Age comics publishers who fought back against the censorship campaigns and paranoia of the Red Scare. After dropping out of Harvard to fight in World War I in France, Gleason moved to New York City and eventually made it big with groundbreaking titles like Daredevil and Crime Does Not Pay.
Brett Dakin, Gleason's great-nephew, opens up the family archives—and the files of the FBI—to take you on a journey through the publisher's life and career. In American Daredevil, you'll learn the truth about Gleason's rapid rise to the top of comics, unapologetic progressive activism, and sudden fall from grace.
American Daredevil: Comics, Communism, and the Battles of Lev Gleason
Gleason was a titan among Golden
Age comics publishers who fought back against the censorship campaigns and
paranoia of the Red Scare. After dropping out of Harvard to fight in France,
Gleason moved to New York City and eventually made it big with groundbreaking
titles like Daredevil and Crime Does Not
Pay.
Brett Dakin, Gleason's great-nephew,
opens up the family archives-and the files of the FBI-to take you on a journey
through the publisher's life and career. In American Daredevil, you'll learn the
truth about Gleason's rapid rise to the top of comics,…
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