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Shifting worlds, shaping fieldwork: A memoir of anthropology and art: by Susan Ossman, London & New York, Routledge, 2021, xx + 172 pp., £19.99/$26.36 (softcover), ISBN 978-1-350-12809-5 We also see how art, in Ossman's hands, becomes a way of doing "fieldwork on scholarship" (6): Ossman's exhibits become collaborative sites that realise art's potential to generate cross-cultural conversations on issues ranging from gendered forms of labour to migration and displacement. The storyline of the book moves between Susan Ossman's art and her anthropology, treating the reader to moving accounts of scholarly and artistic co-creation. [Extracted from the article]

With a focus on the twenty-first-century United States, this article explores two narratives of sexual violence written by White women: Rape New York by Jana Leo (2009) and Joanna Connors' I Will Find You (2016). In order to discuss them in relation to the topic proposed, the following research questions are posed: (1) What is the aim of the text? (2) Which methods of composition and narrative are used to achieve that aim? (3) Does the text manifest a political intention? (4) Does that intention align with the current wave of feminism? The thesis sustained here is that these two authors create stories of sexual violence where the personal is political in ways that are relevant to a feminist understanding of contemporary America. I propose that Leo and Connors, writing before #MeToo, can be considered early fourth-wavers. Their approach to the events that they portray is intersectional, and they practice self- and cultural inquiry as part of their process of constructing autobiographical rape narratives. [ABSTRACT FROM AUTHOR]

(p. 204) La Perriere is known for her work as a family therapist. Still, she was elected president of the American Family Therapy Academy, an event that actually showed La Perriere that her exclusion, her status as an outsider, may not have always been wrought by others. La Perriere relates the work she did with Margaret Mahler in the early 1960s, observing the interactions between mothers and their babies; this section, while short, was thrilling for me because I read of Mahler's studies at the very beginning of my training. [Extracted from the article]

Glasgow-born Anne Grant has recently received critical attention for her Romantic-era writing on the Scottish Highlands. Her most popular work in the United States, however, was the Memoirs of an American Lady (1808), which recounts Grant's childhood experiences growing up in colonial upstate New York, where her father, an officer in the British army, was posted. In contrast to recent critical studies that have situated the Memoirs in an American, post-revolutionary, pastoral tradition, I argue that Grant's account of her early life is testament to the transnational and transperipheral circuits of movement and exchange in the British Atlantic world, circuits which make for complex instabilities of national, ethnic, and regional identities. Grant's Memoirs - chronicling a childhood lived among a prominent Dutch family in Albany; Mohawks in the surrounding countryside; and Irish, Scots, and English in her father's regiment - describes what can be termed a “translocality.” Grant's childhood world is a polyglot world of indigeneity and emergent and receding empires, a world of confused and shifting allegiances and identities. In this, the Memoirs suggests that the cultural forms ascribed to our contemporary condition of global modernity are also recognizable in earlier stages of modern imperialism. [ABSTRACT FROM AUTHOR]

The article discusses the 1891 murder of the author's great aunt Mamie Osmond in New York City and the subsequent murder trial of her husband John Osmond for the shooting deaths of his wife and his cousin John Burchell. The murder was witnessed by the author's grandmother Ellen Murphy, whose testimony at the trial helped convict Osmond for murder and resulted in his capital punishment sentence. The author also considers Irish American families and their love of secrets, family dynamics, Americanization, and the reliability of family stories.