Moss' letter to Chopin reveals some of the ways in which Chopin's writing was important to the community of women. Her praise of Chopin's writing goes beyond the fictional and enlightens the ways in which Chopin's resistence affected other women who might not have had the same ability to pubically speak up.
Art piece titled "Brushstrokes #6" by Hannah Wilke, included in her 1992 exhibit Intra-Venus. Wilke's hair is arranged on a sheet of paper to resemble brushstrokes.
The 1943 Office of War Information poster features a woman in a bright red uniform working on what appears to be an aircraft canopy. Her calm and focused expression suggests confidence and skill. The bold title declares, "The more WOMEN at work the sooner we WIN!" Below, a list of occupations (such as farm worker, typist, bus driver, laundress, and others) encourages women to join many sectors of the wartime economy. The poster presents women's labor, whether in factories or service roles, as a patriotic act essential to victory.
Interpretation Note This poster is a clear example of how state institutions actively shaped public memory of women's wartime roles by promoting certain stories about women's wartime labor while leaving out others. As Kenneth Foote argued, collective memory is built through selective emphasis, since societies often highlight specific events or meanings and downplay the aspects that do not fit the message they want to project. In this case, the Office of War Information presents women's work as a unified patriotic effort that is essential to national victory. The poster's clear slogan and orderly list of occupations support a motivating narrative. What falls outside that frame, such as the exhaustion, unequal pay, racial segregation, childcare struggles, or the abrupt layoffs women faced after the war, simply does not appear. Foote reminds us that this kind of selective emphasis is common in the formation of cultural memory, where representations produced by institutions determine which versions of the past circulate widely and which are allowed to fade. In choosing to emphasize patriotism, duty, and contribution over the difficulties and inequalities that shaped women's actual working lives, the poster helped define how an entire era would later be remembered.
This is a letter written by my dad to his family in 1998 while he was living in Kazakhstan. In this letter, he writes about the movies his family sent, how he got a piano, and using it as a source of entertainment while the power was out in his apartment.
The cover of Contact Quarterly Spring/Summer 83 vol. VIII no. 3/4. This issue focused on Contact Improvisation in college, and featured student and instructor perspectives on what it meant to practice CI in a college setting.
Poem by Felicia Zamora that addresses topics of the body and its systems, language, and the archive. Includes an image of a mammogram as part of the poem.
Poem by Sarah M. Sala which addresses invisible illness, physical pain, and coming to terms with being ill. The first section of the triptych comprises nine stanzas which are then repeated and altered in the second and third sections.
![The more women at work the sooner we win! Women are needed also as [...] See your local U.S. Employment Service.<br /><br />](https://archive.engl.sites.carleton.edu/files/fullsize/3a90795f2fbfdac678a93698e610080d.jpg)
