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Directed by - Autumn de Wilde Mia Goth UK Eleanor Catton. Emma johansson. Emma chamberlain coachella. Something went wrong, but dont fret — lets give it another shot. Emma boettcher jeopardy. Emma. Theatrical release poster Directed by Autumn de Wilde Produced by Tim Bevan Eric Fellner Graham Broadbent Pete Czernin Screenplay by Eleanor Catton Based on Emma by Jane Austen Starring Anya Taylor-Joy Johnny Flynn Bill Nighy Music by Isobel Waller-Bridge David Schweitzer Cinematography Christopher Blauvelt Edited by Nick Emerson Production companies Perfect World Pictures Working Title Films Blueprint Pictures Distributed by Focus Features Release date February 14, 2020 (United Kingdom) February 21, 2020 (United States) Running time 124 minutes Country United Kingdom United States Language English Emma. is an upcoming comedy - drama film directed by Autumn de Wilde and written by Eleanor Catton. It is based on the 1815 novel of the same name by Jane Austen. The film stars Anya Taylor-Joy, Johnny Flynn and Bill Nighy. It is scheduled to be released in the United Kingdom on February 14, 2020, and in the United States on February 21, 2020, by Focus Features. Synopsis [ edit] Emma Woodhouse, handsome, clever and rich" meddles in the romantic affairs of her friends and loved ones. Cast [ edit] Anya Taylor-Joy as Emma Woodhouse Johnny Flynn as George Knightley Bill Nighy as Mr. Woodhouse Mia Goth as Harriet Smith Miranda Hart as Miss Bates Josh O'Connor as Mr. Elton Callum Turner as Frank Churchill Rupert Graves as Mr. Weston Gemma Whelan as Mrs. Weston Amber Anderson as Jane Fairfax Tanya Reynolds as Mrs. Elton Connor Swindells [1] Production [ edit] In October 2018, Anya Taylor-Joy was cast in the film adaptation of Emma, with Autumn de Wilde making her directorial debut with the film. [2] In December 2018, Johnny Flynn joined the cast of the film. [3] In March 2019, Bill Nighy, Mia Goth, Josh O'Connor, Callum Turner, Miranda Hart, Rupert Graves, Gemma Whelan, Amber Anderson and Tanya Reynolds joined the cast of the film. [4] Alexandra Byrne will be providing costume design for the film. [5] Filming [ edit] Principal photography began on March 18, 2019. [6] 7] Release [ edit] It is scheduled to be released in the United Kingdom on February 14, 2020, and in the United States on February 21, 2020. [8] Reception [ edit] Critical reception [ edit] Emma received positive reviews from film critics. It holds a 90% approval rating on review aggregator website Rotten Tomatoes, based on 10 reviews, with a weighted average of 7. 33/10. [9] On Metacritic, the film holds a rating of 75 out of 100, based on 5 critics, indicating "generally favorable reviews. 10] References [ edit] Focus Features. "Emma Cast & Crew. Retrieved December 8, 2019. ^ Kit, Borys (October 25, 2018. Anya Taylor-Joy to Star in Jane Austen Adaptation 'Emma' Exclusive. The Hollywood Reporter. Retrieved October 29, 2018. ^ D'Alessandro, Anthony (December 20, 2018. Johnny Flynn Joins Focus Features-Working Title's 'Emma. Deadline Hollywood. Retrieved March 2, 2019. ^ Grater, Tom (March 21, 2019. Bill Nighy, Mia Goth, Josh O'Connor, Callum Turner board 'Emma' for Working Title, Blueprint (exclusive. Screen International. Retrieved March 21, 2019. ^ Alexandra Byrne. Independent Talent. Retrieved 2019-05-14. ^ Production Weekly" PDF. Production Weekly. No. 1123. December 20, 2018. p. 19. Retrieved January 28, 2019. ^ de Wilde, Autumn (March 18, 2019. DAY ONE of production complete. Retrieved March 19, 2019. I am thrilled to announce that I am directing Jane Austens ”Emma” starring @anyataylorjoy for @focusfeatures @workingtitlefilms. screenplay by eleanorcatton. photo by @anyataylorjoy. emmafilm. “Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her. ”. emma #hansomecleverandrich ^ Emma. Launching Films. Retrieved August 22, 2019. ^ Emma (2020. Rotten Tomatoes. Retrieved February 7, 2020. ^ Emma Reviews. Metacritic. Retrieved February 6, 2020. External links [ edit] Emma. on IMDb Emma. at Rotten Tomatoes Emma. at Metacritic.
Emmanuel solo. Emma macdonald. Recent Posts Tips To Support Your Teen When They Are Suffering With Depression Its estimated that one in five teenagers suffer from depression, so as a parent, it is important to look out for the signs in your son, daughter, friend or otherwise if you feel someone is struggling with teenage depression. Depression In Teenagers Such signs and symptoms of depression in teens can include: Sad, irritable, and […] A Career in Healthcare – Is it Right for You? Whether youve been thinking about going back to work or making a career change, healthcare is one of the fastest-growing sectors around. In fact, occupations in the healthcare field are expected to grow by 14% from 2018-2028, so theres no shortage of available jobs. But, there are a lot of common misconceptions people have about […] How to Protect the Foundations of Your Home Solid and well-built foundations are vital to the strength and durability of your home. The foundations of a home are important for a number of reasons; they support the weight of the building, they provide strength against the elements and they help to isolate the structure of the building from moisture in the ground. Here […] How to Motivate Your Teenager to Do School Work Schoolwork may not be at the top of your childs priorities; however, there are some clever ways that parents can help to make studying more enjoyable. Here are some helpful learning strategies from Mill Hill School… Set up a new study area for your child. This will help to improve their concentration and contribute toward […] Helping Your Teenager with Their Confidence Confidence means believing in yourself and your abilities. Confidence is built up through experiences and it helps us to take on new challenges, build relationships and create new opportunities. It is really important for parents to help their children develop a positive attitude grow in confidence. But how can you do this? Weve teamed up […] School Problems: How Parents Can Get Involved in Education As a former teacher and mum of three children, I have lots of experience in the education system and how best to support childrens learning. It should be no surprise to hear me say that there are a number of school problems currently and parents and teachers need to work together for the benefit of […] I Got My Tween a Smartphone and I Am Not Sorry As a parent of teenagers and a tween I have a long list of achievements and failings with this age range! That coupled with 12 years teaching in a secondary school, a school governor and former youth worker have led me to have many opinions on how to parent this challenging stage. Over the years […] How to Clean Your Whole House Without Any Chemicals With the entire world becoming more ‘green-conscious and adopting an eco-friendly method of doing everything, your cleaning products need to take an active turn into the green lane too. Up until a few years ago, people did not really bother about the kind of cleaning products they were using and what consequences they have on [….
Jane Austens beloved comedy about finding your equal and earning your happy ending, is reimagined in this delicious new film adaptation of EMMA. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along. Discover the film IN THEATERS February 21, 2020 NEWSLETTER Sign up for Emma film updates SOCIAL February 21, 2020.
Won 1 Oscar. Another 2 wins & 7 nominations. See more awards » Videos Learn more More Like This Comedy, Drama Romance 2 3 4 5 6 7 8 9 10 7. 1 / 10 X At 10, Fanny Price, a poor relation, goes to live at Mansfield Park, the estate of her aunt's husband, Sir Thomas. Clever, studious, and a writer with an ironic imagination and fine moral. See full summary » Director: Patricia Rozema Stars: Frances O'Connor, Jonny Lee Miller, Alessandro Nivola 8. 1 / 10 Emma Woodhouse (Romola Garai) seems to be perfectly content, to have a loving father for whom she cares, friends, and a home. But Emma has a terrible habit, matchmaking. She cannot resist. See full summary » Romola Garai, Michael Gambon, Jonny Lee Miller 7. 6 / 10 Rich Mr. Dashwood dies, leaving his second wife and her three daughters poor by the rules of inheritance. The two eldest daughters are the titular opposites. Ang Lee Emma Thompson, Kate Winslet, James Fleet 7. 5 / 10 Royal Navy captain Wentworth was haughtily turned down eight years ago as suitor of pompous baronet Sir Walter Elliot's daughter Anne, despite true love. Now he visits their former seaside. See full summary » Adrian Shergold Sally Hawkins, Alice Krige, Anthony Head 8 / 10 Widow Dashwood and her three unmarried daughters, Elinor, Marianne and Margaret, inherit only a tiny allowance. So they move out of their grand Sussex home to a more modest cottage in. See full summary » Dominic Cooper, Charity Wakefield, Hattie Morahan 7. 3 / 10 A young woman's penchant for sensational Gothic novels leads to misunderstandings in the matters of the heart. Jon Jones Geraldine James, Michael Judd, Julia Dearden Biography A biographical portrait of a pre-fame Jane Austen and her romance with a young Irishman. Julian Jarrold Anne Hathaway, James McAvoy, Julie Walters 8. 9 / 10 While the arrival of wealthy gentlemen sends her marriage-minded mother into a frenzy, willful and opinionated Elizabeth Bennet matches wits with haughty Mr. Darcy. Colin Firth, Jennifer Ehle, Susannah Harker 7. 8 / 10 Sparks fly when spirited Elizabeth Bennet meets single, rich, and proud Mr. Darcy. But Mr. Darcy reluctantly finds himself falling in love with a woman beneath his class. Can each overcome his or her own pride and prejudice? Joe Wright Keira Knightley, Matthew Macfadyen, Brenda Blethyn Emma (TV Movie 1996) 7 / 10 While matchmaking for friends and neighbors, a young 19th-century Englishwoman nearly misses her own chance at love. Diarmuid Lawrence Kate Beckinsale, Bernard Hepton, Mark Strong 6. 3 / 10 At age 10, Fanny Price is sent by her destitute mother to live with her aunt and uncle, Sir Thomas and Lady Bertram. As a child she was often made to feel that she was the poor relation but. See full summary » Iain B. MacDonald Julia Joyce, Douglas Hodge, Maggie O'Neill 8. 3 / 10 A young governess falls in love with her brooding and complex master. However, his dark past may destroy their relationship forever. Ruth Wilson, Toby Stephens, Lorraine Ashbourne Edit Storyline Emma Woodhouse is a congenial young lady who delights in meddling in other people's affairs. She is perpetually trying to unite men and women who are utterly wrong for each other. Despite her interest in romance, Emma is clueless about her own feelings, and her relationship with gentle Mr. Knightly. Written by Philip Brubaker <> Plot Summary Add Synopsis Taglines: Cupid is armed and dangerous! Details Release Date: 30 August 1996 (USA) See more » Box Office Budget: 6, 000, 000 (estimated) Opening Weekend USA: 240, 649, 4 August 1996 Cumulative Worldwide Gross: 22, 231, 658 See more on IMDbPro » Company Credits Technical Specs Color: Color (Technicolor) See full technical specs » Did You Know? Trivia Emma and Mr. Knightley's dance is called "Mr. Beveridge's Maggot" to the tune of the same name. A "maggot" is "a whimsical fancy. This same tune and dance were previously used in Pride and Prejudice (1995) for Elizabeth Bennet's dance with Mr. Darcy at the Netherfield Ball. See more » Goofs Mr. Knightly's hairstyle and collar change during his proposal to Emma. See more » Quotes Mr. Knightley: Marry me. Marry me, my wonderful, darling friend. See more » Crazy Credits Thanks to. the people of Evershot. See more » Soundtracks Silent Worship from "Ptolemy" 1728) Written by George Frideric Handel (as G. F. Handel) Words by Arthur Somervell Performed by Gwyneth Paltrow and Ewan McGregor Arranged by Arthur Somervell J. Corwen & Sons Ltd. See more ».
Emma vigeland. Emma chamberlain and aaron hull. Emma Title page of first edition, volume 1 of 3 Author Jane Austen Country United Kingdom Language English Genre Novel of manners Published 23 December 1815 [1] title page gives 1816) John Murray Preceded by Mansfield Park Followed by Northanger Abbey Emma, by Jane Austen, is a novel about youthful hubris and the perils of misconstrued romance. The story takes place in the fictional village of Highbury and the surrounding estates of Hartfield, Randalls, and Donwell Abbey and involves the relationships among individuals in those locations consisting of "3 or 4 families in a country village. 2] The novel was first published in December 1815, with its title page listing a publication date of 1816. As in her other novels, Austen explores the concerns and difficulties of genteel women living in Georgian – Regency England; she also creates a lively comedy of manners among her characters and depicts issues of marriage, gender, age, and social status. Before she began the novel, Austen wrote, I am going to take a heroine whom no one but myself will much like. 3] In the first sentence, she introduces the title character as "Emma Woodhouse, handsome, clever, and rich, with a comfortable home and a happy disposition. and had lived nearly twenty-one years in the world with very little to distress or vex her. 4] Emma is spoiled, headstrong, and self-satisfied; she greatly overestimates her own matchmaking abilities; she is blind to the dangers of meddling in other people's lives; and her imagination and perceptions often lead her astray. Emma, written after Austen's move to Chawton, was the last novel to be completed and published during her life, 5] as Persuasion, the last novel Austen wrote, was published posthumously. This novel has been adapted for several films, many television programmes, and a long list of stage plays. It is also the inspiration for several novels. Plot summary [ edit] Emma Woodhouse has just attended the wedding of Miss Taylor, her lovely friend and former governess, to Mr. Weston. Having introduced them, Emma takes credit for their marriage and decides that she likes matchmaking. After she returns home to Hartfield with her father, Emma forges ahead with her new interest against the advice of her sister's brother-in-law, Mr. Knightley, and tries to match her new friend Harriet Smith to Mr. Elton, the local vicar. First, Emma must persuade Harriet to refuse the marriage proposal from Robert Martin, a respectable, educated, and well-spoken young farmer, which Harriet does against her own wishes. However, Mr. Elton, a social climber, thinks that Emma is in love with him and proposes to her. When Emma tells him that she had thought him attached to Harriet, he is outraged. After Emma rejects him, Mr. Elton leaves for a stay at Bath and returns with a pretentious, nouveau-riche wife, as Mr. Knightley expected. Harriet is heartbroken, and Emma feels ashamed about misleading her. Frank Churchill, Mr. Weston's son, arrives for a two-week visit to his father and makes many friends. Frank was adopted by his wealthy and domineering aunt, and he has had very few opportunities to visit before. Mr. Knightley suggests to Emma that, while Frank is intelligent and engaging, he is also a shallow character. Jane Fairfax also comes home to see her aunt, Miss Bates, and grandmother, Mrs. Bates, for a few months, before she must go out on her own as a governess due to her family's financial situation. She is the same age as Emma and has been given an excellent education by her father's friend, Colonel Campbell. Emma has not been as friendly with her as she might because she envies Jane's talent and is annoyed to find all, including Mrs. Weston and Mr. Knightley, praising her. The patronizing Mrs. Elton takes Jane under her wing and announces that she will find her the ideal governess post before it is wanted. Emma begins to feel some sympathy for Jane's predicament. Emma decides that Jane and Mr. Dixon, Colonel Campbell's new son-in-law, are mutually attracted, and that is why she has come home earlier than expected. She shares her suspicions with Frank, who met Jane and the Campbells at a vacation spot a year earlier, and he apparently agrees with her. Suspicions are further fueled when a piano, sent by an anonymous benefactor, arrives for Jane. Emma feels herself falling in love with Frank, but it does not last to his second visit. The Eltons treat Harriet poorly, culminating with Mr. Elton publicly snubbing Harriet at the ball given by the Westons in May. Knightley, who had long refrained from dancing, gallantly steps in to dance with Harriet. The day after the ball, Frank brings Harriet to Hartfield; she had fainted after a rough encounter with local gypsies. Harriet is grateful, and Emma thinks this is love, not gratitude. Meanwhile, Mrs. Weston wonders if Mr. Knightley has taken a fancy to Jane, but Emma dismisses that idea. When Mr. Knightley mentions the link he sees between Jane and Frank, Emma denies them, while Frank appears to be courting her instead. He arrives late to the gathering at Donwell in June, while Jane leaves early. Next day at Box Hill, a local beauty spot, Frank and Emma continue to banter together and Emma, in jest, thoughtlessly insults Miss Bates. 1898 illustration of Mr. Knightley and Emma Woodhouse, Volume III chapter XIII When Mr. Knightley scolds Emma for the insult to Miss Bates, she is ashamed and tries to atone with a morning visit to Miss Bates, which impresses Mr. Knightley. On the visit, Emma learns that Jane had accepted the position of governess from one of Mrs. Elton's friends after the outing. Jane now becomes ill and refuses to see Emma or receive her gifts. Meanwhile, Frank was visiting his aunt, who dies soon after he arrives. Now he and Jane reveal to the Westons that they have been secretly engaged since the autumn, but Frank knew that his aunt would disapprove. The strain of the secrecy on the conscientious Jane had caused the two to quarrel, and Jane ended the engagement. Frank's easygoing uncle readily gives his blessing to the match, and the engagement becomes public, leaving Emma chagrined to discover that she had been so wrong. Emma is confident that Frank's engagement will devastate Harriet, but instead, Harriet tells her that she loves Mr. Knightley, although she knows the match is too unequal, Emma's encouragement and Mr. Knightley's kindness have given her hope. Emma is startled and realizes that she is the one who wants to marry Mr. Knightley returns to console Emma from Frank and Jane's engagement thinking her heartbroken. When she admits her foolishness, he proposes, and she accepts. Now Harriet accepts Robert Martin's second proposal, and they are the first couple to marry. Jane and Emma reconcile, and Frank and Jane visit the Westons. Once the period of deep mourning ends, they will marry. Before the end of November, Emma and Mr. Knightley are married with the prospect of "perfect happiness. Principal characters [ edit] Emma Woodhouse, the protagonist of the story, is a beautiful, high-spirited, intelligent, and 'slightly' spoiled young woman from the landed gentry. She is twenty when the story opens. Her mother died when she was young. She has been mistress of the house (Hartfield) since her older sister got married. Although intelligent, she lacks the discipline to practice or study anything in depth. She is portrayed as compassionate to the poor, but at the same time has a strong sense of class status. Her affection for and patience towards her valetudinarian father are also noteworthy. While she is in many ways mature, Emma makes some serious mistakes, mainly due to her lack of experience and her conviction that she is always right. Although she has vowed she will never marry, she delights in making matches for others. She has a brief flirtation with Frank Churchill; however, she realises at the end of the novel that she loves Mr Knightley. George Knightley is a neighbour and close friend of Emma, aged 37 years (16 years older than Emma. He is her only critic. Mr Knightley is the owner of the estate of Donwell Abbey, which includes extensive grounds and farms. He is the elder brother of Mr John Knightley, the husband of Emma's elder sister Isabella. He is very considerate, aware of the feelings of the other characters and his behaviour and judgement is extremely good. Mr Knightley is furious with Emma for persuading Harriet to turn down Mr Martin, a farmer on the Donwell estate; he warns Emma against pushing Harriet towards Mr Elton, knowing that Mr Elton seeks a bride with money. He is suspicious of Frank Churchill and his motives; he suspects that Frank has a secret understanding with Jane Fairfax. Frank Churchill, Mr Weston's son by his first marriage, is an amiable young man, who at age 23 is liked by almost everyone, although Mr Knightley sees him as immature and selfish for failing to visit his father after his father's wedding. After his mother's death, he was raised by his wealthy aunt and uncle, the Churchills, at the family estate Enscombe. His uncle was his mother's brother. By his aunt's decree, he assumed the name Churchill on his majority. Frank is given to dancing and living a carefree, gay life and is secretly engaged to Miss Fairfax at Weymouth, although he fears his aunt will forbid the match because Jane is not wealthy. He manipulates and plays games with the other characters to ensure his engagement to Jane remain concealed. Jane Fairfax is an orphan whose only family consists of her aunt, Miss Bates, and her grandmother, Mrs Bates. She is a beautiful, bright, and elegant woman, with the best of manners. She is the same age as Emma. She is extraordinarily well-educated and talented at singing and playing the piano; she is the sole person whom Emma envies. An army friend of her late father, Colonel Campbell, felt responsible for her, and has provided her with an excellent education, sharing his home and family with her since she was nine years old. She has little fortune, however, and is destined to become a governess – a prospect she dislikes. The secret engagement goes against her principles and distresses her greatly. Harriet Smith, a young friend of Emma, just seventeen when the story opens, is a beautiful but unsophisticated girl. She has been a parlour boarder at a nearby school, where she met the sisters of Mr Martin. Emma takes Harriet under her wing early on, and she becomes the subject of Emma's misguided matchmaking attempts. She is revealed in the last chapter to be the natural daughter of a decent tradesman, although not a gentleman. Harriet and Mr Martin are wed. The now wiser Emma approves of the match. Robert Martin is a well-to-do, 24-year-old farmer who, though not a gentleman, is a friendly, amiable and diligent young man, well esteemed by Mr George Knightley. He becomes acquainted and subsequently smitten with Harriet during her 2-month stay at Abbey Mill Farm, which was arranged at the invitation of his sister, Elizabeth Martin, a school friend of Harriet's. His first marriage proposal, in a letter, is rejected by Harriet under the direction and influence of Emma, an incident which puts Mr Knightley and Emma in a disagreement with one another) who had convinced herself that Harriet's class and breeding were above associating with the Martins, much less marrying one. His second proposal of marriage is later accepted by a contented Harriet and approved by a wiser Emma; their joining marks the first out of the three happy couples to marry in the end. Philip Elton is a good-looking, initially well-mannered, and ambitious young vicar, 27 years old and unmarried when the story opens. Emma wants him to marry Harriet; however, he aspires to secure Emma's hand in marriage to gain her dowry of 30, 000. Mr Elton displays his mercenary nature by quickly marrying another woman of lesser means after Emma rejects him. Augusta Elton, formerly Miss Hawkins, is Mr Elton's wife. She has 10, 000 pounds, but lacks good manners, committing common vulgarities such as using people's names too intimately (as in "Jane" not "Miss Fairfax. Knightley" not "Mr Knightley. She is a boasting, pretentious woman who expects her due as a new bride in the village. Emma is polite to her but does not like her. She patronises Jane, which earns Jane the sympathy of others. Her lack of social graces shows the good breeding of the other characters, particularly Miss Fairfax and Mrs Weston, and shows the difference between gentility and money. Mrs Weston was Emma's governess for sixteen years as Miss Anne Taylor and remains her closest friend and confidante after she marries Mr Weston. She is a sensible woman who loves Emma. Mrs Weston acts as a surrogate mother to her former charge and, occasionally, as a voice of moderation and reason. The Westons and the Woodhouses visit almost daily. Near the end of the story, the Westons' baby Anna is born. Mr. Weston is a widower and a business man living in Highbury who marries Miss Taylor in his early 40s, after he bought the home called Randalls. By his first marriage, he is father to Frank Weston Churchill, who was adopted and raised by his late wife's brother and his wife. He sees his son in London each year. He married his first wife, Miss Churchill, when he was a Captain in the militia, posted near her home. Mr Weston is a sanguine, optimistic man, who enjoys socialising, making friends quickly in business and among his neighbours. Miss Bates is a friendly, garrulous spinster whose mother, Mrs Bates, is a friend of Mr Woodhouse. Her niece is Jane Fairfax, daughter of her late sister. She was raised in better circumstances in her younger days as the vicar's daughter; now she and her mother rent rooms in the home of another in Highbury. One day, Emma humiliates her on a day out in the country, when she alludes to her tiresome prolixity. Mr Henry Woodhouse, Emma's father, is always concerned for his health, and to the extent that it does not interfere with his own, the health and comfort of his friends. He is a valetudinarian (i. e., similar to a hypochondriac but more likely to be genuinely ill. He assumes a great many things are hazardous to his health. His daughter Emma gets along with him well, and he loves both his daughters. He laments that "poor Isabella" and especially "poor Miss Taylor" have married and live away from him. He is a fond father and fond grandfather who did not remarry when his wife died; instead he brought in Miss Taylor to educate his daughters and become part of the family. Because he is generous and well-mannered, his neighbors accommodate him when they can. Isabella Knightley (née Woodhouse) is the elder sister of Emma, by seven years, and daughter of Henry. She is married to John Knightley. She lives in London with her husband and their five children (Henry, little' John, Bella, little' Emma, and George. She is similar in disposition to her father and her relationship to Mr. Wingfield, her and her family's physician) mirrors that of her father's to Mr. Perry. John Knightley is Isabella's husband and George's younger brother, 31 years old (10 years older than Jane Fairfax and Emma. He is an attorney by profession. Like the others raised in the area, he is a friend of Jane Fairfax. He greatly enjoys the company of his family, including his brother and his Woodhouse in-laws, but is not the very sociable sort of man who enjoys dining out frequently. He is forthright with Emma, his sister-in-law, and close to his brother. Minor characters [ edit] Mr. Perry is the apothecary in Highbury who spends a significant amount of time responding to the health issues of Mr. Woodhouse. He and Mrs. Perry have several children. He is also the subject of a discussion between Miss Bates and Jane Fairfax that is relayed in a letter to Mr. Frank Churchill that he inadvertently discloses to Emma. He is described as an "telligent, gentlemanlike man, whose frequent visits were one of the comforts of Mr. Woodhouse's life. [6] Mrs. Bates is the widow of the former vicar of Highbury, the mother of Miss Bates and the grandmother of Jane Fairfax. She is old and hard of hearing, but is a frequent companion to Mr. Woodhouse when Emma attends social activities without him. Mr. Mrs. Cole have been residents of Highbury who had been there for several years, but have recently benefited from a significant increase in their income that has allowed them to increase the size of their house, number of servants and other expenses. In spite of their "low origin" in trade, their income and style of living has made them the second most prominent family in Highbury, the most senior being the Woodhouses at Hartfield. They host a dinner party that is a significant plot element. Mrs. Churchill was the wife of the brother of Mr. Weston's first wife. She and her husband, Mr. Churchill, live at Enscombe and raised Mr. Weston's son, Mr. Frank Churchill. Although never seen directly, she makes demands on Frank Churchill's time and attention that prevent him from visiting his father. Her disapproval is the reason that the engagement between Frank Churchill and Jane Fairfax is kept secret. Her death provides the opportunity for the secret to be revealed. Colonel and Mrs. Campbell were friends of Jane Fairfax's late father. After a period of time when Jane was their guest for extended visits, they offered to take over her education in preparation for potentially serving as a governess when she grew up. They provided her every advantage possible, short of adopting, and were very fond of her. Mrs. Goddard is the mistress of a boarding school for girls in which Harriet Smith is one of the students. She is also a frequent companion to Mr. Woodhouse along with Mrs. Bates. Mr. William Larkins is an employee on the Donwell Abbey estate of Mr. He frequently visits the Bateses, bringing them gifts, such as apples, from Mr. Knightley. Publication history [ edit] Title page from 1909 edition of Emma. Emma was written after the publication of Pride and Prejudice and was submitted to the London publisher John Murray II in the autumn of 1815. He offered Austen 450 for this plus the copyrights of Mansfield Park and Sense and Sensibility, which she refused. Instead, she published two thousand copies of the novel at her own expense, retaining the copyright and paying a 10% commission to Murray. The publication in December 1815 (dated 1816) consisted of a three-volume set in duodecimo at the selling price of 1. 1s (one guinea) per set. [7] Prior to publication, Austen's novels had come to the attention of the Prince Regent, whose librarian at Carlton House, a Mr. Clarke, showed her around the Library at the Prince Regent's request, and who suggested a dedication to the Prince Regent in a future publication. This resulted in a dedication of Emma to the Prince Regent at the time of publication and a dedication copy of the novel sent to Carlton House in December 1815. [8] In America, copies of this first publication were sold in 1818 for 4 per copy, as well as an American edition published by Mathew Carey of Philadelphia in 1816. The number of copies of this edition are not known. A later American edition was published in 1833 [9] and again in 1838 by Carey, Lea, and Blanchard. [10] A French version was published in 1816 by Arthus Bertrand, publisher for Madame Isabelle De Montolieu. [11] A second French version for the Austrian market was published in 1817 Viennese publisher Schrambl. [12] Richard Bentley reissued Emma in 1833, along with Austen's five other novels, in his series of Standard Novels. This issue did not contain the dedication page to the Prince Regent. [13] These editions were frequently reprinted up until 1882 with the final publication of the Steventon Edition. [14] Emma has remained in continuous publication in English throughout the remainder of the nineteenth century and into the twentieth and twenty-first centuries. In addition to the French translation already mentioned, Emma was translated into Swedish and German in the nineteenth century and into fifteen other languages in the twentieth century including Arabic, Chinese, Danish, Dutch, German and Italian. [15] Reception [ edit] Prior to publishing, John Murray's reader, William Gifford, who was also the editor of the Quarterly Review, said of the novel that "Of Emma I have nothing but good to say. I was sure of the writer before you mentioned her. The MS though plainly written has yet some, indeed many little omissions, and an expression may not and then be amended in passing through the press. I will readily undertake the revision. 16] Early reviews of Emma were generally favourable, and were more numerous than those of any other of Austen's novels. [17] One important review, requested by John Murray prior to publication by Sir Walter Scott, appeared anonymously in March 1816 in the Quarterly Review, although the date of the journal was October 1815. [18] 17] He writes: 19] The author is already known to the public by the two novels announced in her title page, and both, the last especially, attracted, with justice, an attention from the public far superior to what is granted to the ephemeral productions which supply the regular demand of watering- places and circulating libraries. They belong to a class of fictions which has arisen almost in our own times, and which draws the characters and incidents introduced more immediately from the current of ordinary life than was permitted by the former rules of the novel. Emma has even less story than either of the preceding author's knowledge of the world, and the peculiar tact with which she presents characters that the reader cannot fail to recognize, reminds us something of the merits of the Flemish school of painting. The subjects are not often elegant, and certainly never grand: but they are finished up to nature, and with a precision which delights the reader. Two other unsigned reviews appeared in 1816, one in The Champion, also in March, and another in September of the same year in Gentleman's Magazine. [20] Other commenters include Thomas Moore, the Irish poet, singer and entertainer who was a contemporary of Austen's; he wrote to Samuel Rogers, an English poet, in 1816: 21] Let me entreat you to read Emma - it is the very perfection of novel-writing - and I cannot praise it more highly than by saying it is often extremely like your own method of describing things - so much effect with so little effort! A contemporary Scottish novelist, Susan Edmonstone Ferrier, wrote to a friend, also in 1816: 22] I have been reading Emma, which is excellent; there is no story whatever, and the heroine is not better than other people; but the characters are all true to life and the style so piquant, that it does not require the adventitious aids of mystery and adventure. " There was some criticism about the lack of story. John Murray remarked that it lacked "incident and Romance. 23] Maria Edgeworth, the author of Belinda, to whom Austen had sent a complimentary copy, wrote: 23] there was no story in it, except that Miss Emma found that the man whom she designed for Harriet's lover was an admirer of her own – & he was affronted at being refused by Emma & Harriet wore the willow – and smooth, thin water-gruel is according to Emma's father's opinion a very good thing & it is very difficult to make a cook understand what you mean by smooth, thin water-gruel! Austen also collected comments from friends and family on their opinions of Emma. [24] Writing several years later, John Henry Newman observed in a letter about the novel: 25] Everything Miss Austen writes is clever, but I desiderate something. There is a want of body to the story. The action is frittered away in over-little things. There are some beautiful things in it. Emma herself is the most interesting to me of all her heroines. I feel kind to her whenever I think of other women, Fairfax, is a dolt- but I like Emma. Later reviewers or commenters on the novel include Charlotte Brontë, George Henry Lewes, Juliet Pollock, Anne Ritchie, Henry James, Reginald Farrer, Virginia Woolf, and E. M. Forste r. [26] Other reviewers include Thomas Babington Macauley who considered Austen to be a "Prose Shakespeare. 27] and Margaret Oliphant who stated in Blackwood's Edinburgh Magazine in March that she prefers Emma to Austen's other works and that it is "the work of her mature mind. 28] Although Austen's Pride and Prejudice is usually recognized as the author's masterpiece, critics such as Susan Morgan of Stanford University have placed Emma as being their personal favourite among all of Austen's novels [29] and John Mullan has argued that Emma was a revolutionary novel which changed the shape of what is possible in fiction" because "The novel bent narration through the distorting lens of its protagonists mind" 30. Themes [ edit] Highbury as a character [ edit] The British critic Robert Irvine wrote that unlike Austen's previous novels, the town of Highbury in Surrey emerges as a character in its own right. [31] Irvine wrote that: In Emma, we find something much closer to a genuinely communal voice, a point of view at work in the narrative that cannot be reduced to the subjectivity of any one character. This point of view appears both as something perceived by Emma, an external perspective on events and characters that the reader encounters as and when Emma recognises it; and as an independent discourse appearing in the text alongside the discourse of the narrator and characters. 31] Irvine used as an example the following passage: The charming Augusta Hawkins, in addition to all the usual advantages of perfect beauty and merit, was in possession of as many thousands as would always be called ten; a point of some dignity, as well as some convenience: the story told well; he had not thrown himself away-he had gained a woman of 10, 000 or therebouts; and he had gained with delightful rapidity-the first hour of introduction he had been so very soon followed by distinguishing notice; the history which he had to give Mrs. Cole of the rise and progress of the affair was so glorious. 32] Irvine points out the adjective "charming" appears to the narrator speaking, but notes the sentence goes on to associate "perfect" with "usual" which he pointed out was an incongruity. [33] Irvine suggested the next sentence "would always be called ten" is in fact the voice of the community of Highbury, which wants the fiancée of Mr. Elton to be "perfect" whom the narrator sarcastically calls the "usual" sort of community gossip is about a new arrival in Highbury, whom everyone thinks is "charming. 33] Since the character of Mrs. Elton is in fact far from "charming" the use of the term "charming" to describe her is either the gossip of Highbury and/or the narrator being sarcastic. [33] Likewise, the Australian school John Wiltshire wrote one of Austen's achievements to "give depth" to the "Highbury world. 34] Wiltshire noted that Austen put the population of Highbury as 352 people, and wrote though clearly most of these people don't appear as characters or as minor characters at best, that Austen created the impression of Highbury as a "social commonwealth. 34] Wiltshire used as an example of Mr. Perry, the town doctor who is frequently mentioned in the town gossip, but never appears in the book, having a "kind of familiarity by proxy. 34] Wiltshire also noted that the scene where Emma and Harriet visit a poor cottage on the outskirts of Highbury, and during their walk, it is made clear from Emma's remarks that this part of Highbury is not her Highbury. [34] The character of Frank is a member of the "discursive community" of Highbury long before he actually appears, as his father tells everyone in Highbury about him. [33] Emma forms her judgement of Frank based on what she hears about him in Highbury before she meets him. [35] Irvine wrote that Austen's use of three different voices in Emma —the voice of Highbury, the narrator's voice, and Emma's voice, can at times make it very confusing to the reader about just whom is actually speaking. [35] However, Irvine wrote that one accepts that the voice of Highbury is often speaking, then much of the book makes sense, as Emma believes she has a power that she does not, to make Frank either love or not via her interest or indifference, which is explained as the result of the gossip of Highbury, which attributes Emma this power. [35] This is especially the case as Emma is born into the elite of Highbury, which is portrayed as a female-dominated world. [36] Irvine wrote that Elizabeth Bennet in Pride and Prejudice and Fanny Price in Mansfield Park enjoy the moral authority of being good women, but must marry a well-off man to have the necessary social influence to fully use this moral authority whereas Emma is born with this authority. [36] Emma herself acknowledges this when she says to Harriet that she possesses: none of the usual inducements to rtune I do not want; employment I do not want; consequence I do not want. 36] However, political power still resides with men in the patriarchal society of Regency England as the book notes that Mr. Knightley is not only a member of the gentry, but also serves as the magistrate of Highbury. [36] Emma clashes with Knightley at the beginning of the novel over the all-important "distinctions of rank" namely does Harriet Smith belong with the yeoman class together with Robert Martin, or the gentry class that Emma and Knightley are both part of. [37] Knightley declares his respect for both Smith and Martin, but argues that as part of the yeomen class, that neither belongs with the gentry, while Emma insists on including her best friend/protegee in with the gentry. [38] In Regency England and in Emma, the term friendship describes a power relationship where one higher party can do favors for the lower party while the term "claim intimacy" is a relationship of equals. [38] Mrs. Elton has "friendship" with Jane Fairfax while "claims intimacy" with Mr. [39] The use of the these terms "friendship" and "claim intimacy" refers to the question of who belongs to the local elite. [40] Neither Emma nor Mr. Knightley question the right of the elite to dominate society, but rather their power struggle is over who belongs to the elite, and who has the authority to make the decision about whom to include and whom to exclude, which shows that in a certain sense that Emma is just as powerful socially as is Mr. [41] Further complicating this power struggle is the arrival of Mrs. Elton, who attempts to elevate Jane Fairfax into the elite. [41] This is a cruel struggle as Jane is not rich enough to properly belong to the elite, and Mrs. Elton is showing Jane a world to which she can never really belong, no matter how many parties and balls she attends. [41] In addition to her annoyance at Mrs. Elton's relationship with Jane, Emma finds Mrs. Elton an "upstart. under-bred" and "vulgar" which adds venom to the dispute between the two women. [42] Mrs. Elton is only a first generation gentry, as her father bought the land that she grew up on with money he had raised in trade. Her snobbery is therefore that of a nouveau riche, desperately insecure of her status. [42] When Mrs. Elton boasted that her family had owned their estate for a number of years, Emma responds that a true English gentry family would count ownership of their estate in generations, not years. [42] Of Emma's two rivals for social authority, one shares a common class while the other a common sex. [42] The marriage of Emma to Mr. Knightley consolidates her social authority by linking herself to the dominant male of Highbury and pushes Mrs. Elton's claims aside. [42] Irvine wrote: On this view, and in contrast to Austen's two previous novels, Emma works to legitimate established gentry power defined in opposition to an autonomous feminine authority over the regulation of social relations, and not through the vindication of such autonomous authority. 42] However, as the novel goes, such a reading is countered by the way that Emma begins to take in the previously excluded into the realm of the elite, such as visiting the poor Miss Bates and her mother, and the Coles, whose patriarch is a tradesman. [42] Likewise, Jane Fairfax, who is too poor to live off her wealth and must work forever as a governess, which excludes her from the female social elite of Highbury, does marry well after all, which makes her the story of one real feminine worth triumphing over the lack of wealth in Emma. [43] Gendered space [ edit] Wiltshire wrote about Austen's use of "gendered space" in Emma, noting the female characters have a disproportionate number of scenes in the drawing rooms of Highbury while the male characters often have scenes outdoors. [44] Wiltshire noted that Jane Fairfax cannot walk to the post office in the rain to pick up the mail without becoming the object of town gossip while Mr. Knightley can ride all the way to London without attracting any gossip. [44] Wiltshire described the world that the women of Highbury live in as a sort of prison, writing that in the novel. s imprisonment is associated with deprivation, with energies and powers perverted in their application, and events, balls and outings are linked with the arousal and satisfaction of desire. 44] Wealth [ edit] Emma unlike other heroines in Jane Austen's novels is a wealthy young lady having a personal fortune amounting to 30, 000. Therefore, there is little pressure on her to find a wealthy partner. Nationhood and the "Irish Question. edit] The novel is set in England, but there are several references to Ireland, which were related to the ongoing national debate about the "Irish Question. 45] In 1801, the Act of Union had brought Ireland into the United Kingdom, but there was a major debate about what was Ireland's precise status in the United Kingdom; another kingdom, province or a colony? 45] Austen satirizes this debate by having Miss Bates talk about Mrs. Dixon's new house in Ireland, a place that she cannot decide is a kingdom, a country or a province, but is merely very "strange" whatever its status may be. [45] Austen also satirized the vogue for "Irish tales" that become popular after the Act of Union as English writers started to produce picturesque, romantic stories set in Ireland to familiarize the English people with the newest addition to the United Kingdom. [46] The travel itinerary that Miss Bates sketches out for the Campbells' visit to Ireland is satire of a typical "Irish tale" novel, which was Austen's way of mocking those who had a superficial appreciation of Irish culture by buying the "Irish tales" books that presented Ireland in a very stereotypical way. [45] Austen further alludes to the Society of United Irishmen uprising in 1798 by having the other characters worry about what might happen to the Dixons when they visit a place in the Irish countryside called "Baly-craig" which appears to be Ballycraig in County Antrim in what is now Northern Ireland, which had been the scene of much bloody fighting between the United Irishmen Society and the Crown in 1798, an enduring testament to Ireland's unsettled status with much of the Irish population not accepting British rule. [47] The American scholar Colleen Taylor wrote about Austen's treatment of the "Irish Question. That Emma applies a distant and fictionalized Irish space to her very limited and dissimilar English circle, turning a somewhat ordinary English young woman, Jane Fairfax, into an Irish scandal, proves that the object of English humor is- for once- not the stage Irishman but the privileged English woman who presumes to know what he and his culture are really like. 45] Romance [ edit] In contrast to other Austen heroines, Emma seems immune to romantic attraction, at least until her final self-revelation concerning her true affections. Unlike Marianne Dashwood, who is attracted to the wrong man before she settles on the right one, Emma generally shows no romantic interest in the men she meets and even her flirting with Churchill seems tame. She is genuinely surprised (and somewhat disgusted) when Mr Elton declares his love for her, much in the way Elizabeth Bennet reacts to the obsequious Mr Collins, also a parson. Her fancy for Frank Churchill represents more of a longing for a little drama in her life than a longing for romantic love. For example, at the beginning of Chapter XIII, Emma has "no doubt of her being in love" but it quickly becomes clear that, even though she spends time "forming a thousand amusing schemes for the progress and close of their attachment" we are told that "the conclusion of every imaginary declaration on his side was that she refused him. 48] It is only Mr Knightley who can willingly share the burden of Emma's father, as well as providing her with guidance, love and companionship. He has been in love with her since she was 13 years old, but neither he nor she have realized that there is a natural bond between them. He declares his love for her: What did she say? Just what she ought, of course. A lady always does. 49. Mr Woodhouse is reconciled to the wedding—a marriage of his mother/daughter—because Mr Knightley will come and live with him and therefore protect him from chicken thieves. Female empowerment [ edit] In Emma, Emma Woodhouse serves as a direct reflection of Jane Austen's feminist characterization of female heroines, in terms of both female individuality and independence (romantically, financially, etcetera. In terms of romantic independence, Emma's father, Henry Woodhouse, very consistently preaches against the idea of marriage. He plays an integral role in Emma's own initial perception of matrimony, leading her to make use of her free time by becoming the town “matchmaker, ” which leaves her happily single and unwed for the majority of the novel. One of the predominant reasons Emma is able to live a comfortable and independent lifestyle is her gifted inheritance—given to her by a past family member—which allows her to depend on no one other than herself for a sustainable, wealthy, and self-sufficient life. Austen portrays Emma as educated and capable, and despite not constantly being in pursuit of/pursued by a man, is extremely popular and well-liked in her hometown of Highbury. Literary scholar Laurence Mazzeno addresses Austen's narrative in regard to female individualism and empowerment, stating, “…Austen deals honestly and with skill in treating relationships between men and women, and insists Austen presents women of real passion — but not the flamboyant, sentimental kind that populate conventional is not “narrow” in her treatment of character, either; her men and women furnish as broad a view of humanity as would be obtained by traveling up and down the was conservative in both her art and her politics — suggesting that, even from a woman's point of view, Austen was hardly out to subvert the status quo. 50] In the Bedford Edition of Emma edited by Alistair M. Duckworrth, there are five essays to accompany the text that discuss contemporary critical perspectives. One of which is about the Feminist Criticism. The Feminist Criticism essay was written by Devooney Looser. In her essay, she proposes the question of if Jane Austen is a feminist. She also states in her essay that ones answer to the question not only depends on if one understands Austen's novels, but also how one defines feminism. Looser states that if you define feminism broadly as a movement attending to how women are limited and devalued within a culture then Austen's work applies to this concept of feminism. Looser also states that if you define feminism as a movement to eradicate gender, race, class, and sexual prejudice and to agitate for a change, then Austen's work doesn't really apply to this concept of feminism. The Bedford Edition essay on Feminist Criticism also includes the perspectives of French, British, and American feminists from the 1970s and early 1980s. Thinking about how each group looks at feminism can also help to expand one's own thinking of the feminist critique and gain a better understanding of feminism in Emma and in Austen's other works. Parenting [ edit] Mr. Woodhouse adopted a laissez faire parenting style when it came to raising Emma. In fact, most of the time it seems that Emma is parenting her father, taking on the role of both daughter and mother, at the young age of twelve, in the wake of her mother's death. Emma is entirely responsible for the wellbeing of her father and therefore encumbered to stay with him. Her father is a selfish but gentle man and does not approve of matrimony. If Emma were to marry he would lose his caretaker. This is not to say that Emma feels restrained by her father, in fact quite the opposite, Emma has the power over the world she inhabits. The narrator announces at the start of the novel: “The real evils of Emmas situation were the power of having rather too much of her own way, and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments” (Austen, 1. While Mr. Woodhouse lacks as a father figure, Mr. Knightley acts as a surrogate father to Emma. [51] Mr. Knightley is not afraid to correct Emma's behavior and tell her what she needs to hear. Knightley reprimands Emma when he learns of her match-making games and later when Emma is extremely rude to Miss Bates. Still, the reader cannot ignore the developmental damage that has been caused by Mr. Woodhouse's indifferent parenting style as Emma struggles to form healthy adult relationships. Class [ edit] Class is an important aspect to Emma. The distinctions between the classes is made explicitly clear to the reader by Emma and by Austen's descriptions. The social class structure has the Woodhouses and Mr. Knightley at the top, the Eltons, the Westons, Frank Churchill and Jane Fairfax below them, and even further down the line Harriet, Robert Martin, and the Bates. This social class map becomes important when Emma tries to match Mr. Elton and Harriet together. Harriet is not considered a match for Elton due to her lowly class standing, despite what Emma encourages her to believe. Emma's initial disregard for class standing (in regards to Harriet at least) is brought to light by Mr. Knightley who tells her to stop encouraging Harriet. The scholar James Brown argued the much quoted line where Emma contemplates the Abbey-Mill Farm, which is the embodiment of "English verdure, English culture, English comfort, seen under a sun bright, without being oppressive" is a fact meant to be ironic. [52] Brown wrote Austen had a strong appreciation of the land as not only a source of aesthetic pleasure, but also a source of money, an aspect of pre-industrial England that many now miss. [53] In this sense, the beauty of the Abbey-Mill Farm is due to the hard work of Mr. Knightley's tenant, the farmer Robert Martin, a man whom Emma dismisses as the sort of person "with whom I feel I can have nothing to do" while Knightley praises him as "open, straight forward, and very well judging. 54] Brown argued that the disconnect between's Emma's contempt for Mr. Martin as a person and her awe at the beauty that is the result of his hard work was Austen's way of mocking those in the upper classes who failed to appreciate the farmers who worked the land. [55] Food [ edit] There is an abundance of food language in Jane Austen's Emma. Food is given, shared, and eaten by characters in almost every chapter. Most of the research on Jane Austen's food language is found in Maggie Lane's book titled Jane Austen and Food. [56] Lane's text provides a general examination of the symbolism of food in Emma and invites further interpretations. Food is used as a symbol to convey class hierarchy, stereotypes and biases throughout the novel. [57] The language and actions that surround food bring the characters of Highbury's inner circle closer together. For Emma Woodhouse, food is a symbol of human interdependence and goodwill. [56] No one in Highbury is starving; everyone is well-fed and takes part in the giving and receiving of food. However, food is a strong class divider though it is rarely openly discussed by characters in the novel. There are a few instances when characters allude to lower class individuals outside of their well-fed society. For instance, when Emma discusses her charitable visit with a poor family, Harriet's encounter with the gypsy children, and Highbury's mysterious chicken thieves. For the most part, the poor in Emma are overlooked by the characters in the novel due to their socioeconomic status. The constant giving and receiving of food in the novel does not occur without motive. [56] Characters are either trying to climb the social ladder or gain the approval or affections of another. The interpretation of the giving and receiving of food in Emma can be taken in these different directions; however in terms of love: “The novel. is stuffed with gifts of food: Mr. Knightley sends the Bates family apples; Mr. Martin woos Harriet with some walnuts; and, to further her son's suit, Mrs. Martin brings Mrs. Goddard a goose”. [58] These gifts are not without motive, and food—as it pertains to Emma Woodhouse—only becomes interesting when it pertains to love. “[R]omance is a far more interesting subject than food. Emma quickly reduces the topic of eating to a bottom-of-the-barrel ‘any thing, and arbitrary and empty screen that only becomes interesting when projected on by those in love”. [59] This becomes evident to the reader when Emma overestimates Mr. Elton's affections for Harriet from their engaging conversation about the food at the Cole's party. Emma Woodhouse interprets food conversation and gifts of food as means of affection between two lovers. Masculinity [ edit] Austen explores the idea of redefining manhood and masculinity with her male characters: particularly Mr. Knightley, Mr. Woodhouse, and Frank Churchill. In Emma, Austen includes typical ideals of English masculinity, including, “familial responsibility, sexual fidelity, and leadership transition…” [60] Mr. Woodhouse is portrayed chiefly as a fool and an incompetent father figure. Clark comments on Mr. Woodhouse's age and how this affects his masculine identity. He resists change and pleasure, yet he is still respected in the community. Knightley is Jane Austen's perfect gentleman figure in Emma. He has manners, class, and money. Further, he is presented as, “a well-adjusted alternative to these more polarized understandings of masculinity seen in characters of John Willoughby and Edward Ferrars. ” [60] Men in Emma are more representative of modern-day intersectionalities of masculinity. Allusions to real places [ edit] The fictional Highbury is said to be in Surrey, 16 miles (26 km) from London and 8 miles (13 km) from Richmond. (It must not be confused with the real Highbury, which is 4. 5 miles (7. 2 km) north of Charing Cross, now part of inner London but in Austen's day was in Middlesex. Highbury was not modelled on a specific village; however, it is likely that it is modelled after several that Austen knew, such as Cobham and Box Hill. Leatherhead, Surrey is another town that could have been a source of inspiration for Highbury. There is a Randalls Road in the town, which is an important name within Emma. It has also been noted that there is a Mr. Knightly mentioned in Leatherhead Church. [61] Emma's sister Isabella and her family live in Brunswick Square, between the City of London and the West End; the fields had just been transformed at the turn of the century into terraces of Georgian houses. Richmond, where Frank Churchill's aunt and uncle settle in the summer, is now part of the greater London area, but then was a separate town in Surrey. Most of the other places mentioned are in southern England, such as the seaside resort towns of Weymouth, Dorset, South End, and Cromer in Norfolk. Box Hill, Surrey is still a place of beauty, popular for picnics. Bath, where Mr Elton went to find a bride, is a well-known spa city in the southwest. The place furthest away is the fictional Enscombe, the estate of the Churchills, in the real Yorkshire, in the north. Mrs Elton frequently refers to the upcoming visit of her well-married sister, who will certainly arrive in their barouche - landau. This was an expensive carriage for summer use. [62] 63] The school is based on Reading Abbey Girls' School, which Austen and her sister attended briefly [64. not of a seminary, or an establishment, or any thing which professed, in long sentences of refined nonsense, to combine liberal acquirements with elegant morality upon new principles and new systems — and where young ladies for enormous pay might be screwed out of health and into vanity — but a real, honest, old-fashioned Boarding-school, where a reasonable quantity of accomplishments were sold at a reasonable price, and where girls might be sent to be out of the way and scramble themselves into a little education, without any danger of coming back prodigies. " Adaptations [ edit] Emma has been the subject of many adaptations for film, TV, radio and the stage. The profusion of adaptations based on Jane Austen's novels has not only created a large contemporary fan base but has also sparked extensive scholarly examination on both the process and effect of modernizing the narratives and moving them between mediums. Examples of this critical, academic work can be found in texts such as Recreating Jane Austen by John Wiltshire, 65] Jane Austen in Hollywood edited by Troost and Greenfield, 66] and Jane Austen and Co. Remaking the Past in Contemporary Culture edited by Pucci and Thompson [67] and Adapting Jane Austen: The Surprising Fidelity of 'Clueless' by William Galperin [68] to name a few. Film [ edit] 1995: Clueless, a loose American modern adaptation of the novel, set in Beverly Hills and starring Alicia Silverstone as Cher Horowitz (Emma) 69] 70] 1996: Emma, an American comedy starring Gwyneth Paltrow as Emma [71] 2010: Aisha, an Indian modern adaptation of the novel, starring Sonam Kapoor as Aisha (Emma. 72] 2020: Emma, directed by Autumn de Wilde, starring Anya Taylor-Joy as Emma Woodhouse and Johnny Flynn as Mr. [73] Television [ edit] 1948: Emma, live BBC TV broadcast, starring Judy Campbell (who also wrote the screenplay) as Emma, and directed and produced by Michael Barry [74] 1954: Emma, live NBC TV broadcast, starring Felicia Montealegre as Emma [74] 1957: Emma, another live NBC TV broadcast in their Matinee Theater series, starring Sarah Churchill as Emma [74] 1960: Emma, live BBC TV serial in six parts, starring Diana Fairfax as Emma and directed by Campbell Logan [74] 1960: Emma, live CBS TV broadcast in their Camera Three series, starring Nancy Wickwire as Emma. [74] 1972: Emma, a six-part BBC miniseries, starring Doran Godwin as Emma 1996: Emma, an ITV TV film, starring Kate Beckinsale as Emma 2009: Emma, a four-part BBC miniseries, starring Romola Garai as Emma [75] Web [ edit] 2013: Emma Approved, a YouTube web series produced by Pemberley Digital and developed by Bernie Su, starring Joanna Sotomura as Emma. [76] 77] 2017: The Emma Agenda, a YouTube web series produced by Quip Modest Productions, starring Selis Maria Vargas as Emma. In this version, The role of Mr. Knightley is a female hence makes it the first lesbian version of Emma on screen. Stage [ edit] 1991: Emma, a stage adaptation by British playwright Michael Fry, first produced by the Cloucester Stage Company in 1991, and since then produced by a number of theatre companies in Britain and the US [78] 79] 2000: Emma, a musical written by Stephen Karam and first showed by the Brownbrokers student theatre group at Brown University under the direction of Darius Pierce. [80] In 2004 Karam's musical was played at the New York Musical Theatre Festival under the direction of Patricia Birch. [81] A theatrical adaptation by Michael Napier Brown was performed at the Royal Theatre in Northampton in 2000 [82] 2007: Jane Austen's Emma – A Musical Romantic Comedy, a musical written by Paul Gordon, which premiered at TheatreWorks in Menlo Park, California. [83] This musical has since been performed at the Cincinnati Playhouse, The Repertory Theatre of St. Louis and the Old Globe Theatre in San Diego. [74] 2009: Emma, a stage adaption by Rachel Atkins for the Book-It Repertory Theatre in Seattle, directed by Marcus Goodwin with Sylvie Davidson in the title role [74] 84] Fiction [ edit] Joan Aiken wrote a companion novel, Jane Fairfax: The Secret Story of the Second Heroine in Jane Austen's Emma. [85] Alexander McCall Smith has written a modern version, titled Emma: A Modern Retelling (2014) 86] Reginald Hill wrote Poor Emma in 1987, included in the 2007 paperback There is no ghost in the Soviet Union, where finance plays a crucial role. The importance of being Emma, a novel published in 2008 by Juliet Archer, is a modern version of Emma Emma and the Werewolves: Jane Austen and Adam Rann, Adam Rann, is a parody of Emma which by its title, its presentation and its history, seeks to give the illusion that the novel had been written jointly by Adam Rann and Jane Austen, that is, a mash-up novel. Emma and the Vampires, a 2010 installation of the Jane Austen Undead Novels by Wayne Josephson, preserves the basic plot of Austen's original while adding contemporary humor and a thematic flair for the undead. [87] The Matchmaker: An Amish Retelling of Jane Austen's Emma (2015) by Sarah Price Emma Ever After, a 2018 modern retelling of Emma by Brigid Coady. In this version, Emma is a PR manager for celebrities and George "Gee" Knightley is the former member of a boy band. Manga [ edit] In June 2015, manga adaptation was published by Manga Classics Inc. was adopted by Crystal S. Chan, art by Po Tse. [88] Critical editions [ edit] Jane Austen, Emma (Wordsworth Classics, 2000) ed. Nicola Bradbury, ISBN 978-1853260285 Bibliography [ edit] Cano, Marina (2017. Jane Austen and Performance. Cham, Switzerland: Palgrave Macmillan. Especially Chapter 5 "Re-inscribing Emma. ISBN 978-3-319-43987-7. References [ edit] Advertisement in The Morning Chronicle 23 December 1815 p. 1. ^ Austen-Leigh, William and Richard Arthur (1965. Jane Austen: Her Life and Letters. New York: Russell and Russell. p. 237. ^ Austen-Leigh, James Edward (1882. A Memoir of Jane Austen. London: Richard Bentley & Sons. p. 157. ^ Austen, Jane (2012. Justice, George (ed. Emma (4th Norton Critical ed. New York: W. W. Norton & Co. ISBN 978-0-393-92764-1. ^ Burrows, John Frederick Burrows (1968. Jane Austen's Emma. Australia: Sydney University Press. p. 7. ^ Austen, Jane (2012. p. 15. ISBN 978-0-393-92764-1. ^ Baker, William (2008. Critical Companion to Jane Austen: A Literary Reference to Her Life and Work. New York: Facts on File: an imprint of Infobase Publishing. p. 37. ISBN 978-0-8160-6416-8. ^ LeFaye, Deidre (2004. Jane Austen: A Family Record (2nd ed. Cambridge: Cambridge University Press. pp. 225–227. ISBN 978-0-521-53417-8. ^ Gilson, David (1982. A Bibliography of Jane Austen. Oxford: Clarendon Press. pp. 97–98. ISBN 978-0-19-818173-6. ^ Gilson, David (1982. pp. 239. pp. 161. pp. 164. pp. 211, 218. pp. 225–234. pp. 135–207. Oxford: Oxford University Press. pp. 66–67. ISBN 978-0-19-818173-6. ^ a b Gilson, David (1982. pp. 69. ISBN 978-0-19-818173-6. ^ The Quarterly review. v. 14 (Oct 1815-Jan 1816. HathiTrust. Retrieved 15 September 2017. ^ Southam, B. C. (1979. Jane Austen: The Critical Heritage Vol I 1811-1870. Routledge. pp. 64, 69, 71. ISBN 978-0-203-19671-7. ^ Byrne, Paula, ed. (2004. Jane Austen's Emma: A Sourcebook. pp. 40–42. ISBN 978-0-415-28651-0. ^ Dowden, Wilfred S. (1964. The Letters of Thomas Moore. p. 396. ^ Doyle, John A. (1898. Memoir and correspondence of Susan Ferrier, 1782-1854. London: John Murray. p. 128. ^ a b Todd, Janet (2006. The Cambridge Introduction to Jane Austen. Cambridge University Press. p. 94. ISBN 978-0-521-85806-9. ^ Austen, Jane (2012. The Reception of Jane Austen 1815-1950. In Justice, George (ed. pp. 363–364. Critical Companion to Jane Austen: A Literary Reference to Her Life and Works. New York: Facts on File Inc. p. 97. ISBN 978-0-8160-6416-8. ^ Austen, Jane (2012. pp. 366–377. ISBN 978-0-393-92764-1. ^ Southam, B. Jane Austen: The Critical Heritage, Vol I 1811–1870. London: Routledge. pp. 117–118, 130. ISBN 978-0-203-19671-7. ^ Southam, B. Jane Austen: The Critical Heritage, Vol I. 1811-1870. pp. 221–229. ISBN 978-0-203-19671-7. ^ Susan Morgan. In the Meantime. The University of Chicago Press, Chapter One, Emma and the Charms of Imagination. pp23-51. ^ How Jane Austens Emma changed the face of fiction The Guardian 5-Dec-2015 ^ a b Irvine, Robert Jane Austen, London: Routledge, 2005 page 72. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 pages 72-73. ^ a b c d Irvine, Robert Jane Austen, London: Routledge, 2005 page 73. ^ a b c d Wiltshire, John " Mansfield Park, Emma, Persuasion " pages 58-83 from The Cambridge Guide To Jane Austen, Cambridge: Cambridge University Press, 1997 page 68. ^ a b c Irvine, Robert Jane Austen, London: Routledge, 2005 page 74. ^ a b c d Irvine, Robert Jane Austen, London: Routledge, 2005 page 75. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 pages 75-76. ^ a b Irvine, Robert Jane Austen, London: Routledge, 2005 page 76. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 76 ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 77 ^ a b c Irvine, Robert Jane Austen, London: Routledge, 2005 page 77. ^ a b c d e f g Irvine, Robert Jane Austen, London: Routledge, 2005 page 78. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 80. ^ a b c Wiltshire, John " Mansfield Park, Emma, Persuasion " pages 58-83 from The Cambridge Guide To Jane Austen, Cambridge: Cambridge University Press, 1997 page 69. ^ a b c d e Taylor, Collen "Austen answers the Irish question: satire, anxiety, and Emma's, allusory Ireland" from Persuasions, Volume 38, August 2016 page 218. ^ Taylor, Colleen "Austen answers the Irish question: satire, anxiety, and Emma's, allusory Ireland" from Persuasions, Volume 38, August 2016 page 218. ^ Taylor, Colleen: Austen answers the Irish question: satire, anxiety, and Emma's, allusory Ireland" from Persuasions, Volume 38, August 2016 page 218. ^ Austen, Jane. Emma. Oxford University Press, Oxford, 2008. ^ Wikiquote Emma, Etiquette quotes ^ Mazzeno, Laurence (May 2017. Traditional Approaches to Austen, 1991–2008. Jane Austen: Two Centuries of Criticism. Jane Austen. pp. 210–237. doi: 10. 7722/j. ctt81z9p. 13. JSTOR 10. 13. ^ De Vink, Sarah. “Austen's Representations of Parenthood in Pride and Prejudice, Emma, and Persuasion. ” Thesis, Utrecht University, 2008, pp. 27–33. ^ Brown, James "Jane Austen's Mental Maps" pages 20-41 from Critical Survey, Vol. 26, 2014 page 31. ^ Brown, James "Jane Austen's Mental Maps" pages 20-41 from Critical Survey, Vol. 26, 2014 pages 30-31. ^ a b c Lane, Maggie (2007. Jane Austen and Food. London Hambledon Press. ^ Kirkley, Laura (2008. Review of Jane Austen and the Theatre, Jane Austen and Food. The Historical Journal. 51: 814–817. 1017/S0018246X08006870. ^ Seeber, Barbara K. (2002. Nature, Animals, and Gender in Jane Austen's Mansfield Park and Emma. Lit: Literature Interpretation Theory. 13 (4) 269–285. 1080/10436920290095776. ^ Lee, Micheal Parrish (September 2012. The Nothing in the Novel: Jane Austen and the Food Plot. Novel. 45 (3) 368–388. 1215/00295132-1722998. ^ a b Clark, Alyssa (Summer 2015. Jane Austen's world. Thesis, San Diego State University. ^ Herbert, David (April 2017. Place and Society in Jane Austen's England. Geography. 76 (3) 193–208. JSTOR 40572081. ^ Ratcliffe, Ed (2012. Transports of Delight: How Jane Austen's Characters Got Around. The Inkwell. Menlo Park, California: Jane Austen Society of North America. Archived from the original on 20 July 2013. Retrieved 14 June 2015. ^ Ratcliffe, Ed (2012. Transports of Delight: How Jane Austen's Characters Got Around" PDF. JASNA NorCa. Archived from the original (PDF) on 18 June 2015. Retrieved 14 June 2015. ^ Corley, T. A. B. (1998. Jane austen's "real, honest, old-fashioned boarding-school" Mrs La Tournelle and Mrs Goddard. Women's Writing. 5 (1) 113–130. 1080/09699089800200035. ^ Wiltshire, John (2001. Recreating Jane Austen. ISBN 978-0521002820. ^ Troost, Linda, and Sayre Greenfield, editors. Jane Austen in Hollywood. The University Press of Kentucky, 1998. ISBN 0813120845 ^ Pucci, Suzanne R., and James Thompson, editors. Jane Austen and Co. Remaking the Past in Contemporary Culture. State University of New York Press, 2003. ISBN 0791456161 ^ Galperin, William. "Adapting Jane Austen: The Surprising Fidelity of 'Clueless. Wordsworth Circle. ^ Mazmanian, Melissa. "Reviving Emma" in a Clueless World: The Current Attraction to a Classic Structure. Persuasions Online: Occasional Papers No. 3. Fall 1999. Jane Austen Society of North America website. Accessed 12 November 2013. ^ Stern, Lesley. "Emma in Los Angeles" Clueless as a remake of the book and the city. Archived 6 October 2013 at the Wayback Machine Australian Humanities Review website, 1997. Accessed 12 November 2013. ^ Di Paolo, Marc (2007. Emma Adapted: Jane Austen's Heroine from Book to Film. New York: Peter Lang Publishing. p. 85. ISBN 9781433100000. ^ Aisha based on Jane Austen's novel Emma. Indiatimes. Archived from the original on 6 September 2010. Retrieved 11 November 2015. ^ The first trailer for 'Emma' gives a peek at an updated classic ^ a b c d e f g The Emma Adaptations Pages: Other Versions. Retrieved 27 December 2011 ^ Moore, Charles (27 October 2009. This misjudged 'Emma' is a pedant's dream. The Telegraph. Retrieved 4 February 2019. ^ Pemberley Digital - About. Retrieved 17 April 2014. ^ I am Emma Woodhouse - Emma Approved" Ep 1 - Youtube. Retrieved 17 April 2014. ^ The Emma Adaptations Pages: Emma by Michael Fry. Retrieved 27 December 2011 ^ Culturvulture November 2004: Emma at Aurora Theatre Company in Berkley Archived 12 May 2012 at the Wayback Machine ^ The Providence, Phoenix, 7 December 2000: Emma Rewards Archived 15 April 2012 at the Wayback Machine. Retrieved 27 December 2011 ^ TheaterMania 2004: Emma (NYMF. Retrieved 27 December 2011 ^ Set Play' – Emma, Times Educational Supplement, 25 February 2000 ^ Broadway World, 17 August 2007: World Premiere Emma Steps into TheatreWorks 8/22. Retrieved 27 December 2011 ^ Seattle Times 16 October 2009: Attention, Austen fans: Emma Comes to Book-It. Retrieved 27 December 2011 ^ Aiken, Joan (1997. Jane Fairfax: The Secret Story of the Second Heroine in Jane Austen's Emma. St. Martin's Press. ISBN 9780312157074. ^ Emma: A Modern Retelling (2014) Harper Collins, London. ISBN 978-0-00-755386-0 ^ Josephson, Wayne (2010. Emma and the Vampires. Sourcebooks Landmark. ISBN 978-1402241345. ^ Manga Classics: Emma (2015) Manga Classics Inc. ISBN 978-1927925362 External links [ edit] Wikiquote has quotations related to: Emma.
Critics Consensus No consensus yet. 100% TOMATOMETER Total Count: 7 Coming soon Release date: Feb 21, 2020 Audience Score Ratings: Not yet available Emma. Ratings & Reviews Explanation Emma. Videos Photos Movie Info Jane Austen's beloved comedy about finding your equal and earning your happy ending, is reimagined in this delicious new film adaptation of EMMA. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along. Rating: NR Genre: Directed By: Written By: In Theaters: Feb 21, 2020 limited Studio: Focus Features Cast Critic Reviews for Emma. Audience Reviews for Emma. There are no featured reviews for Emma. because the movie has not released yet (Feb 21, 2020. See Movies in Theaters Emma. Quotes Movie & TV guides.
Emma Goldman Goldman, c. 1911 Born June 27, 1869 Kovno, Kovno Governorate, Russian Empire Died May 14, 1940 (aged 70) Toronto, Ontario, Canada School Anarchism Feminism Influences Friedrich Nietzsche Johann Most Henry David Thoreau Ralph Waldo Emerson Peter Kropotkin Mikhail Bakunin Mary Wollstonecraft Nikolay Chernyshevsky Oscar Wilde Max Stirner Influenced Roger Nash Baldwin Ba Jin Noe Ito [1] Margaret Sanger Part of the Politics series on Anarchism Schools of thought Black Christian Collectivist Communist Egoist Existentialist Feminist Green Independence Individualist Insurrectionary Mutualist Naturist Pacifist Philosophical Platformist Post-anarchist Post-colonial Primitivist Queer Social Syndicalist Synthesist Without adjectives Theory Practice Anarchy Anarchist Black Cross Anationalism Anti-authoritarianism Anti-capitalism Anti-militarism Affinity group Autonomous social center Black bloc Classless society Class struggle Communes Consensus democracy Conscientious objector Decentralization Deep ecology Direct action Direct democracy Especifismo Expropriative anarchism Free association Free love Freed market Freethought Horizontalidad Illegalism Individualism Individual reclamation Isocracy Law Magonism Mutual aid Participatory politics Permanent autonomous zone Prefigurative politics Proletarian internationalism Propaganda of the deed Refusal of work Revolution Rewilding Security culture Self-ownership Social ecology Somatherapy Spontaneous order Squatting Temporary autonomous zone Union of egoists People Armand Bakunin Berkman Bonannp Bookchin Chomsky Durruti Faure Gandhi Godwin Goldman Ferrer Kropotkin Landauer Magón Makhno Malatesta Michel Most Rocker Proudhon Santillán Spooner Stirner Thoreau Tolstoy Tucker Volin Ward Warren Zerzan Issues Animal rights Veganism Capitalism Anarcho-capitalism Right-libertarianism Criticism Cryptography Education Islam Left-wing Lifestylism Love and sex Marxism Nationalism National-anarchism Orthodox Judaism Religion Violence History Paris Commune Cantonal Revolution Hague Congress International Conference of Rome Trial of the Thirty Haymarket affair May Day Anarchist Exclusion Act Congress of Amsterdam Tragic Week High Treason Incident Manifesto of the Sixteen Individualist anarchism in the United States 1919 United States bombings Biennio Rosso German Revolution of 1918–1919 Bavarian Council Republic Kronstadt rebellion Third Russian Revolution Free Territory Amakasu Incident Escuela Moderna Individualist anarchism in Europe Spanish Revolution of 1936 Barcelona May Days Red inverted triangle Labadie Collection May 1968 Provo LIP Kate Sharpley Library Australian Anarchist Centenary Carnival Against Capital 1999 Seattle WTO protests Occupy movement Culture A las Barricadas Anarchist Bookfair Anarcho-punk Arts Culture jamming DIY ethic Films Freeganism Glossary Independent Media Center The Internationale Jewish anarchism " Land and liberty " No gods, no masters " Popular education " Property is theft! Radical cheerleading Radical environmentalism Symbolism Economics Communization Cooperative Cost the limit of price Economic democracy Economic secession General strike Gift economy Give-away shop Market abolitionism Participatory economics Really Really Free Market Social ownership Wage slavery Workers' self-management By region Africa Argentina Australia Azerbaijan Bolivia Brazil Canada Chile China Cuba Ecuador Egypt France French Guiana Germany Greece India Iceland Ireland Israel Italy Japan Korea Mexico Monaco New Zealand Poland Puerto Rico Romania Russia Singapore South Africa Spain Sweden Turkey Ukraine United Kingdom United States Venezuela Vietnam Lists Anarcho-punk bands Books Communities Fictional characters Jewish anarchists Musicians Periodicals Related topics Anti-corporatism Anti-consumerism Anti-fascism Anti-globalization Anti-statism Anti-war Autarchism Autonomism Communism Counter-economics Definition of anarchism and libertarianism Labour movement Left communism Left-libertarianism Libertarianism Libertarian Marxism Libertarian socialism Situationist International Socialism Voluntaryism Anarchism portal Politics portal v t e Emma Goldman (June 27 [ O. S. June 15] 1869 – May 14, 1940) was an anarchist political activist and writer. She played a pivotal role in the development of anarchist political philosophy in North America and Europe in the first half of the 20th century. Born in Kovno, Russian Empire (now Kaunas, Lithuania) to a Jewish family, Goldman emigrated to the United States in 1885. [2] Attracted to anarchism after the Chicago Haymarket affair, Goldman became a writer and a renowned lecturer on anarchist philosophy, women's rights, and social issues, attracting crowds of thousands. [2] She and anarchist writer Alexander Berkman, her lover and lifelong friend, planned to assassinate industrialist and financier Henry Clay Frick as an act of propaganda of the deed. Frick survived the attempt on his life in 1892, and Berkman was sentenced to 22 years in prison. Goldman was imprisoned several times in the years that followed, for "inciting to riot" and illegally distributing information about birth control. In 1906, Goldman founded the anarchist journal Mother Earth. In 1917, Goldman and Berkman were sentenced to two years in jail for conspiring to "induce persons not to register" for the newly instated draft. After their release from prison, they were arrested—along with 248 others—and deported to Russia. Initially supportive of that country's October Revolution that brought the Bolsheviks to power, Goldman changed her opinion in the wake of the Kronstadt rebellion; she denounced the Soviet Union for its violent repression of independent voices. She left the Soviet Union and in 1923 published a book about her experiences, My Disillusionment in Russia. While living in England, Canada, and France, she wrote an autobiography called Living My Life. It was published in two volumes, in 1931 and 1935. After the outbreak of the Spanish Civil War, Goldman traveled to Spain to support the anarchist revolution there. She died in Toronto, Canada, on May 14, 1940, aged 70. During her life, Goldman was lionized as a freethinking "rebel woman" by admirers, and denounced by detractors as an advocate of politically motivated murder and violent revolution. [3] Her writing and lectures spanned a wide variety of issues, including prisons, atheism, freedom of speech, militarism, capitalism, marriage, free love, and homosexuality. Although she distanced herself from first-wave feminism and its efforts toward women's suffrage, she developed new ways of incorporating gender politics into anarchism. After decades of obscurity, Goldman gained iconic status in the 1970s by a revival of interest in her life, when feminist and anarchist scholars rekindled popular interest. Biography Family Emma Goldman was born into an Orthodox Jewish family in Kovno in the Russian Empire, which is now known as Kaunas in Lithuania. [4] Goldman's mother Taube Bienowitch had been married before to a man with whom she had two daughters—Helena in 1860 and Lena in 1862. When her first husband died of tuberculosis, Taube was devastated. Goldman later wrote: Whatever love she had had died with the young man to whom she had been married at the age of fifteen. 5] Taube's second marriage was arranged by her family and, as Goldman puts it, mismated from the first. 5] Her second husband, Abraham Goldman, invested Taube's inheritance in a business that quickly failed. The ensuing hardship, combined with the emotional distance of husband and wife, made the household a tense place for the children. When Taube became pregnant, Abraham hoped desperately for a son; a daughter, he believed, would be one more sign of failure. [6] They eventually had three sons, but their first child was Emma. [7] Emma Goldman was born on June 27, 1869. [8] Her father used violence to punish his children, beating them when they disobeyed him. He used a whip on Emma, the most rebellious of them. [9] Her mother provided scarce comfort, rarely calling on Abraham to tone down his beatings. [10] Goldman later speculated that her father's furious temper was at least partly a result of sexual frustration. [5] Goldman's relationships with her elder half-sisters, Helena and Lena, were a study in contrasts. Helena, the oldest, provided the comfort the children lacked from their mother; she filled Goldman's childhood with "whatever joy it had. 11] Lena, however, was distant and uncharitable. [12] The three sisters were joined by brothers Louis (who died at the age of six) Herman (born in 1872) and Moishe (born in 1879. 13] Adolescence Emma Goldman's family in St. Petersburg, Russia in 1882. From left to right: Emma, standing; Helena, seated, with Morris on her lap; Taube; Herman; Abraham. When Emma was a young girl, the Goldman family moved to the village of Papilė, where her father ran an inn. While her sisters worked, she became friends with a servant named Petrushka, who excited her "first erotic sensations. 14] Later in Papilė she witnessed a peasant being whipped with a knout in the street. This event traumatized her and contributed to her lifelong distaste for violent authority. [15] At the age of seven, Goldman moved with her family to the Prussian city of Königsberg (then part of the German Empire) and she was enrolled in a Realschule. One teacher punished disobedient students—targeting Goldman in particular—by beating their hands with a ruler. Another teacher tried to molest his female students and was fired when Goldman fought back. She found a sympathetic mentor in her German-language teacher, who loaned her books and took her to an opera. A passionate student, Goldman passed the exam for admission into a gymnasium, but her religion teacher refused to provide a certificate of good behavior and she was unable to attend. [16] The family moved to the Russian capital of Saint Petersburg, where her father opened one unsuccessful store after another. Their poverty forced the children to work, and Goldman took an assortment of jobs, including one in a corset shop. [17] As a teenager Goldman begged her father to allow her to return to school, but instead he threw her French book into the fire and shouted: Girls do not have to learn much! All a Jewish daughter needs to know is how to prepare gefilte fish, cut noodles fine, and give the man plenty of children. 18] Goldman pursued an independent education on her own, however, and soon began to study the political turmoil around her, particularly the Nihilists responsible for assassinating Alexander II of Russia. The ensuing turmoil intrigued Goldman, although she did not fully understand it at the time. When she read Nikolai Chernyshevsky 's novel, What Is to Be Done? 1863) she found a role model in the protagonist Vera. She adopts a Nihilist philosophy and escapes her repressive family to live freely and organize a sewing cooperative. The book enthralled Goldman and remained a source of inspiration throughout her life. [19] Her father, meanwhile, continued to insist on a domestic future for her, and he tried to arrange for her to be married at the age of fifteen. They fought about the issue constantly; he complained that she was becoming a "loose" woman, and she insisted that she would marry for love alone. [20] At the corset shop, she was forced to fend off unwelcome advances from Russian officers and other men. One persistent suitor took her into a hotel room and committed what Goldman described as "violent contact. 21] two biographers call it rape. [20] 22] She was stunned by the experience, overcome by "shock at the discovery that the contact between man and woman could be so brutal and painful. 23] Goldman felt that the encounter forever soured her interactions with men. [23] Rochester, New York In 1885, her sister Helena made plans to move to New York in the United States to join her sister Lena and her husband. Goldman wanted to join her sister, but their father refused to allow it. Despite Helena's offer to pay for the trip, Abraham turned a deaf ear to their pleas. Desperate, Goldman threatened to throw herself into the Neva River if she could not go. Their father finally agreed. On December 29, 1885, Helena and Emma arrived at New York City's Castle Garden, the entry for immigrants. [24] They settled upstate, living in the Rochester home which Lena had made with her husband Samuel. Fleeing the rising antisemitism of Saint Petersburg, their parents and brothers joined them a year later. Goldman began working as a seamstress, sewing overcoats for more than ten hours a day, earning two and a half dollars a week. She asked for a raise and was denied; she quit and took work at a smaller shop nearby. [25] At her new job, Goldman met a fellow worker named Jacob Kershner, who shared her love for books, dancing, and traveling, as well as her frustration with the monotony of factory work. After four months, they married in February 1887. [26] Once he moved in with Goldman's family, however, their relationship faltered. On their wedding night she discovered that he was impotent; they became emotionally and physically distant. Before long he became jealous and suspicious. She, meanwhile, was becoming more engaged with the political turmoil around her—particularly the aftermath of executions related to the 1886 Haymarket affair in Chicago and the anti-authoritarian political philosophy of anarchism. Less than a year after the wedding, the couple were divorced; Kershner begged Goldman to return and threatened to poison himself if she did not. They reunited, but after three months she left once again. Her parents considered her behavior "loose" and refused to allow Goldman into their home. [27] Carrying her sewing machine in one hand and a bag with five dollars in the other, she left Rochester and headed southeast to New York City. [28] Most and Berkman Goldman enjoyed a decades-long relationship with her lover Alexander Berkman. Photo c. 1917–1919. On her first day in the city, Goldman met two men who greatly changed her life. At Sachs's Café, a gathering place for radicals, she was introduced to Alexander Berkman, an anarchist who invited her to a public speech that evening. They went to hear Johann Most, editor of a radical publication called Freiheit and an advocate of " propaganda of the deed "—the use of violence to instigate change. [29] She was impressed by his fiery oration, and Most took her under his wing, training her in methods of public speaking. He encouraged her vigorously, telling her that she was "to take my place when I am gone. 30] One of her first public talks in support of "the Cause" was in Rochester. After convincing Helena not to tell their parents of her speech, Goldman found her mind a blank once on stage. She later wrote, suddenly: 31] something strange happened. In a flash I saw it—every incident of my three years in Rochester: the Garson factory, its drudgery and humiliation, the failure of my marriage, the Chicago crime. I began to speak. Words I had never heard myself utter before came pouring forth, faster and faster. They came with passionate audience had vanished, the hall itself had disappeared; I was conscious only of my own words, of my ecstatic song. Excited by the experience, Goldman refined her public persona during subsequent engagements. Quickly, however, she found herself arguing with Most over her independence. After a momentous speech in Cleveland, she felt as though she had become "a parrot repeating Most's views" 32] and resolved to express herself on the stage. When she returned to New York, Most became furious and told her: Who is not with me is against me. 33] She left Freiheit and joined another publication, Die Autonomie. [34] Meanwhile, Goldman had begun a friendship with Berkman, whom she affectionately called Sasha. Before long they became lovers and moved into a communal apartment with his cousin Modest "Fedya" Stein and Goldman's friend, Helen Minkin, on 42nd Street. [35] Although their relationship had numerous difficulties, Goldman and Berkman would share a close bond for decades, united by their anarchist principles and commitment to personal equality. [36] In 1892, Goldman joined with Berkman and Stein in opening an ice cream shop in Worcester, Massachusetts. After a few months of operating the shop, however, Goldman and Berkman were diverted by becoming involved in the Homestead Strike in western Pennsylvania near Pittsburgh. [37] 38] Homestead plot Berkman and Goldman came together through the Homestead Strike. In June 1892, a steel plant in Homestead, Pennsylvania owned by Andrew Carnegie became the focus of national attention when talks between the Carnegie Steel Company and the Amalgamated Association of Iron and Steel Workers (AA) broke down. The factory's manager was Henry Clay Frick, a fierce opponent of the union. When a final round of talks failed at the end of June, management closed the plant and locked out the workers, who immediately went on strike. Strikebreakers were brought in and the company hired Pinkerton guards to protect them. On July 6, a fight broke out between 300 Pinkerton guards and a crowd of armed union workers. During the twelve-hour gunfight, seven guards and nine strikers were killed. [39] Goldman and Berkman believed that a retaliatory assassination of Carnegie Steel Company manager Henry Clay Frick ( pictured) would "strike terror into the soul of his class" and "bring the teachings of Anarchism before the world. 40] When a majority of the nation's newspapers expressed support of the strikers, Goldman and Berkman resolved to assassinate Frick, an action they expected would inspire the workers to revolt against the capitalist system. Berkman chose to carry out the assassination, and ordered Goldman to stay behind in order to explain his motives after he went to jail. He would be in charge of "the deed" she of the associated propaganda. [41] Berkman tried and failed to make a bomb, then set off for Pittsburgh to buy a gun and a suit of decent clothes. Goldman, meanwhile, decided to help fund the scheme through prostitution. Remembering the character of Sonya in Fyodor Dostoevsky 's novel Crime and Punishment (1866) she mused: She had become a prostitute in order to support her little brothers and nsitive Sonya could sell her body; why not I. 42] Once on the street, Goldman caught the eye of a man who took her into a saloon, bought her a beer, gave her ten dollars, informed her she did not have "the knack. and told her to quit the business. She was "too astounded for speech. 42] She wrote to Helena, claiming illness, and asked her for fifteen dollars. [43] On July 23, Berkman gained access to Frick's office while carrying a concealed handgun; he shot Frick three times, and stabbed him in the leg. A group of workers—far from joining in his attentat —beat Berkman unconscious, and he was carried away by the police. [44] Berkman was convicted of attempted murder [45] and sentenced to 22 years in prison. [46] Goldman suffered during his long absence. [47] Convinced Goldman was involved in the plot, police raided her apartment. Although they found no evidence, they pressured her landlord into evicting her. Worse, the attentat had failed to rouse the masses: workers and anarchists alike condemned Berkman's action. Johann Most, their former mentor, lashed out at Berkman and the assassination attempt. Furious at these attacks, Goldman brought a toy horsewhip to a public lecture and demanded, onstage, that Most explain his betrayal. He dismissed her, whereupon she struck him with the whip, broke it on her knee, and hurled the pieces at him. [48] 49] She later regretted her assault, confiding to a friend: At the age of twenty-three, one does not reason. 50] Inciting to riot" When the Panic of 1893 struck in the following year, the United States suffered one of its worst economic crises. By year's end, the unemployment rate was higher than 20. 51] and "hunger demonstrations" sometimes gave way to riots. Goldman began speaking to crowds of frustrated men and women in New York City. On August 21, she spoke to a crowd of nearly 3, 000 people in Union Square, where she encouraged unemployed workers to take immediate action. Her exact words are unclear: undercover agents insist she ordered the crowd to "take everything... by force. 52] But Goldman later recounted this message: Well then, demonstrate before the palaces of the rich; demand work. If they do not give you work, demand bread. If they deny you both, take bread. 53] Later in court, Detective-Sergeant Charles Jacobs offered yet another version of her speech. [54] Goldman (shown here in Union Square, New York in 1916) urged unemployed workers to take direct action rather than depend on charity or government aid. A week later, Goldman was arrested in Philadelphia and returned to New York City for trial, charged with "inciting to riot. 55] During the train ride, Jacobs offered to drop the charges against her if she would inform on other radicals in the area. She responded by throwing a glass of ice water in his face. [56] As she awaited trial, Goldman was visited by Nellie Bly, a reporter for the New York World. She spent two hours talking to Goldman and wrote a positive article about the woman she described as a "modern Joan of Arc. 57] Despite this positive publicity, the jury was persuaded by Jacobs' testimony and frightened by Goldman's politics. The assistant District Attorney questioned Goldman about her anarchism, as well as her atheism; the judge spoke of her as "a dangerous woman. 58] She was sentenced to one year in the Blackwell's Island Penitentiary. Once inside she suffered an attack of rheumatism and was sent to the infirmary; there she befriended a visiting doctor and began studying medicine. She also read dozens of books, including works by the American activist-writers Ralph Waldo Emerson and Henry David Thoreau; novelist Nathaniel Hawthorne; poet Walt Whitman, and philosopher John Stuart Mill. [59] When Goldman was released after ten months, a raucous crowd of nearly 3, 000 people greeted her at the Thalia Theater in New York City. She soon became swamped with requests for interviews and lectures. [60] To make money, Goldman decided to pursue the medical work she had studied in prison. However, her preferred fields of specialization— midwifery and massage —were not available to nursing students in the US. She sailed to Europe, lecturing in London, Glasgow, and Edinburgh. She met with renowned anarchists such as Errico Malatesta, Louise Michel, and Peter Kropotkin. In Vienna, she received two diplomas for midwifery and put them immediately to use back in the US. Alternating between lectures and midwifery, Goldman conducted the first cross-country tour by an anarchist speaker. In November 1899 she returned to Europe to speak, where she met the Czech anarchist Hippolyte Havel in London. They went together to France and helped organize the 1900 International Anarchist Congress on the outskirts of Paris. [61] Afterward Havel immigrated to the United States, traveling with her to Chicago. They shared a residence there with friends of Goldman. McKinley assassination Leon Czolgosz insisted that Goldman had not guided his plan to assassinate US President William McKinley, but she was arrested and held for two weeks. On September 6, 1901, Leon Czolgosz, an unemployed factory worker and registered Republican with a history of mental illness, shot US President William McKinley twice during a public speaking event in Buffalo, New York. McKinley was hit in the breastbone and stomach, and died eight days later. [62] Czolgosz was arrested, and interrogated around the clock. During interrogation he claimed to be an anarchist and said he had been inspired to act after attending a speech by Goldman. The authorities used this as a pretext to charge Goldman with planning McKinley's assassination. They tracked her to a residence in Chicago she shared with Hippolyte Havel, who had come to the US; as well as with Mary and Abe Isaak, an anarchist couple and their family. [63] 64] Goldman was arrested, along with Isaak, Havel, and ten other anarchists. [65] Propaganda published in the Chicago Daily Tribune, September 8, 1901, blaming Emma Goldman for inspiring Leon Czolgosz to assassinate President William McKinley. Earlier, Czolgosz had tried but failed to become friends with Goldman and her companions. During a talk in Cleveland, Czolgosz had approached Goldman and asked her advice on which books he should read. In July 1901, he had appeared at the Isaak house, asking a series of unusual questions. They assumed he was an infiltrator, like a number of police agents sent to spy on radical groups. They had remained distant from him, and Abe Isaak sent a notice to associates warning of "another spy. 66] Although Czolgosz repeatedly denied Goldman's involvement, the police held her in close custody, subjecting her to what she called the " third degree. 67] She explained her housemates' distrust of Czolgosz, and the police finally recognized that she had not had any significant contact with the attacker. No evidence was found linking Goldman to the attack, and she was released after two weeks of detention. Before McKinley died, Goldman offered to provide nursing care, referring to him as "merely a human being. 68] Czolgosz, despite considerable evidence of mental illness, was convicted of murder and executed. [69] Throughout her detention and after her release, Goldman steadfastly refused to condemn Czolgosz's actions, standing virtually alone in doing so. Friends and supporters—including Berkman—urged her to quit his cause. But Goldman defended Czolgosz as a "supersensitive being" 70] and chastised other anarchists for abandoning him. [70] She was vilified in the press as the "high priestess of anarchy. 71] while many newspapers declared the anarchist movement responsible for the murder. [72] In the wake of these events, socialism gained support over anarchism among US radicals. McKinley's successor, Theodore Roosevelt, declared his intent to crack down "not only against anarchists, but against all active and passive sympathizers with anarchists. 73] Mother Earth and Berkman's release Mug shot taken in 1901 when Goldman was implicated in the assassination of President McKinley. After Czolgosz was executed, Goldman withdrew from the world. Scorned by her fellow anarchists, vilified by the press, and separated from her love, Berkman, she retreated into anonymity and nursing. "It was bitter and hard to face life anew. she wrote later. [74] Using the name E. G. Smith, she left public life and took on a series of private nursing jobs. [75] When the US Congress passed the Anarchist Exclusion Act (1903) however, a new wave of activism rose to oppose it, and Goldman was pulled back into the movement. A coalition of people and organizations across the left end of the political spectrum opposed the law on grounds that it violated freedom of speech, and she had the nation's ear once again. After an English anarchist named John Turner was arrested under the Anarchist Exclusion Act and threatened with deportation, Goldman joined forces with the Free Speech League to champion his cause. [76] The league enlisted the aid of noted attorneys Clarence Darrow and Edgar Lee Masters, who took Turner's case to the US Supreme Court. Although Turner and the League lost, Goldman considered it a victory of propaganda. [77] She had returned to anarchist activism, but it was taking its toll on her. "I never felt so weighed down. she wrote to Berkman. "I fear I am forever doomed to remain public property and to have my life worn out through the care for the lives of others. 78] Goldman's Mother Earth magazine became a home to radical activists and literary free thinkers around the US. In 1906, Goldman decided to start a publication, a place of expression for the young idealists in arts and letters. 79] Mother Earth was staffed by a cadre of radical activists, including Hippolyte Havel, Max Baginski, and Leonard Abbott. In addition to publishing original works by its editors and anarchists around the world, Mother Earth reprinted selections from a variety of writers. These included the French philosopher Pierre-Joseph Proudhon, Russian anarchist Peter Kropotkin, German philosopher Friedrich Nietzsche, and British writer Mary Wollstonecraft. Goldman wrote frequently about anarchism, politics, labor issues, atheism, sexuality, and feminism, and was the first editor of the magazine. [80] 81] On May 18 of the same year, Alexander Berkman was released from prison. Carrying a bouquet of roses, Goldman met him on the train platform and found herself "seized by terror and pity" 82] as she beheld his gaunt, pale form. Neither was able to speak; they returned to her home in silence. For weeks, he struggled to readjust to life on the outside. An abortive speaking tour ended in failure, and in Cleveland he purchased a revolver with the intent of killing himself. [83] 84] He returned to New York, however, and learned that Goldman had been arrested with a group of activists meeting to reflect on Czolgosz. Invigorated anew by this violation of freedom of assembly, he declared, My resurrection has come. 85] and set about securing their release. [86] Berkman took the helm of Mother Earth in 1907, while Goldman toured the country to raise funds to keep it operating. Editing the magazine was a revitalizing experience for Berkman. But his relationship with Goldman faltered, and he had an affair with a 15-year-old anarchist named Becky Edelsohn. Goldman was pained by his rejection of her, but considered it a consequence of his prison experience. [87] Later that year she served as a delegate from the US to the International Anarchist Congress of Amsterdam. Anarchists and syndicalists from around the world gathered to sort out the tension between the two ideologies, but no decisive agreement was reached. Goldman returned to the US and continued speaking to large audiences. [88] Reitman, essays, and birth control For the next ten years, Goldman traveled around the country nonstop, delivering lectures and agitating for anarchism. The coalitions formed in opposition to the Anarchist Exclusion Act had given her an appreciation for reaching out to those of other political positions. When the US Justice Department sent spies to observe, they reported the meetings as "packed. 89] Writers, journalists, artists, judges, and workers from across the spectrum spoke of her "magnetic power" her "convincing presence" her "force, eloquence, and fire. 90] In the spring of 1908, Goldman met and fell in love with Ben Reitman, the so-called "Hobo doctor. Having grown up in Chicago's Tenderloin District, Reitman spent several years as a drifter before earning a medical degree from the College of Physicians and Surgeons of Chicago. As a doctor, he treated people suffering from poverty and illness, particularly venereal diseases. He and Goldman began an affair. They shared a commitment to free love and Reitman took a variety of lovers, but Goldman did not. She tried to reconcile her feelings of jealousy with a belief in freedom of the heart, but found it difficult. [91] Two years later, Goldman began feeling frustrated with lecture audiences. She yearned to "reach the few who really want to learn, rather than the many who come to be amused. 92] She collected a series of speeches and items she had written for Mother Earth and published a book titled Anarchism and Other Essays. Covering a wide variety of topics, Goldman tried to represent "the mental and soul struggles of twenty-one years. 92] In addition to a comprehensive look at anarchism and its criticisms, the book includes essays on patriotism, women's suffrage, marriage, and prisons. When Margaret Sanger, an advocate of access to contraception, coined the term "birth control" and disseminated information about various methods in the June 1914 issue of her magazine The Woman Rebel, she received aggressive support from Goldman. The latter had already been active in efforts to increase birth control access for several years. In 1916, Goldman was arrested for giving lessons in public on how to use contraceptives. [93] Sanger, too, was arrested under the Comstock Law, which prohibited the dissemination of "obscene, lewd, or lascivious articles. 94] which authorities defined as including information relating to birth control. Although they later split from Sanger over charges of insufficient support, Goldman and Reitman distributed copies of Sanger's pamphlet Family Limitation (along with a similar essay of Reitman's. In 1915 Goldman conducted a nationwide speaking tour, in part to raise awareness about contraception options. Although the nation's attitude toward the topic seemed to be liberalizing, Goldman was arrested on February 11, 1916, as she was about to give another public lecture. [95] Goldman was charged with violating the Comstock Law. Refusing to pay a 100 fine, Goldman spent two weeks in a prison workhouse, which she saw as an "opportunity" to reconnect with those rejected by society. [96] World War I Although President Woodrow Wilson was re-elected in 1916 under the slogan "He kept us out of the war" at the start of his second term, he announced that Germany 's continued deployment of unrestricted submarine warfare was sufficient cause for the US to enter the Great War. Shortly afterward, Congress passed the Selective Service Act of 1917, which required all males aged 21–30 to register for military conscription. Goldman saw the decision as an exercise in militarist aggression, driven by capitalism. She declared in Mother Earth her intent to resist conscription, and to oppose US involvement in the war. [97] Goldman on a streetcar in 1917, perhaps during a strike or demonstration. To this end, she and Berkman organized the No Conscription League of New York, which proclaimed: We oppose conscription because we are internationalists, antimilitarists, and opposed to all wars waged by capitalistic governments. 98] The group became a vanguard for anti-draft activism, and chapters began to appear in other cities. When police began raiding the group's public events to find young men who had not registered for the draft, however, Goldman and others focused their efforts on distributing pamphlets and other writings. [99] In the midst of the nation's patriotic fervor, many elements of the political left refused to support the League's efforts. The Women's Peace Party, for example, ceased its opposition to the war once the US entered it. The Socialist Party of America took an official stance against US involvement, but supported Wilson in most of his activities. [100] On June 15, 1917, Goldman and Berkman were arrested during a raid of their offices, in which authorities seized "a wagon load of anarchist records and propaganda. 101] The New York Times reported that Goldman asked to change into a more appropriate outfit, and emerged in a gown of "royal purple. 101] 102] The pair were charged with conspiracy to "induce persons not to register" 103] under the newly enacted Espionage Act, 104] and were held on US25, 000 bail each. Defending herself and Berkman during their trial, Goldman invoked the First Amendment, asking how the government could claim to fight for democracy abroad while suppressing free speech at home: We say that if America has entered the war to make the world safe for democracy, she must first make democracy safe in America. How else is the world to take America seriously, when democracy at home is daily being outraged, free speech suppressed, peaceable assemblies broken up by overbearing and brutal gangsters in uniform; when free press is curtailed and every independent opinion gagged? Verily, poor as we are in democracy, how can we give of it to the world? 105] The jury found Goldman and Berkman guilty. Judge Julius Marshuetz Mayer imposed the maximum sentence: two years' imprisonment, a 10, 000 fine each, and the possibility of deportation after their release from prison. As she was transported to Missouri State Penitentiary, Goldman wrote to a friend: Two years imprisonment for having made an uncompromising stand for one's ideal. Why that is a small price. 106] In prison, she was assigned to work as a seamstress, under the eye of a "miserable gutter-snipe of a 21-year-old boy paid to get results. 107] She met the socialist Kate Richards O'Hare, who had also been imprisoned under the Espionage Act. Although they differed on political strategy— O'Hare believed in voting to achieve state power—the two women came together to agitate for better conditions among prisoners. [108] Goldman also met and became friends with Gabriella Segata Antolini, an anarchist and follower of Luigi Galleani. Antolini had been arrested transporting a satchel filled with dynamite on a Chicago-bound train. She had refused to cooperate with authorities, and was sent to prison for 14 months. Working together to make life better for the other inmates, the three women became known as "The Trinity. Goldman was released on September 27, 1919. [109] Deportation Emma Goldman's deportation photo, 1919 Goldman and Berkman were released from prison during the United States' Red Scare of 1919–20, when public anxiety about wartime pro-German activities had expanded into a pervasive fear of Bolshevism and the prospect of an imminent radical revolution. It was a time of social unrest due to union organizing strikes and actions by activist immigrants. Attorney General Alexander Mitchell Palmer and J. Edgar Hoover, head of the US Department of Justice's General Intelligence Division (now the FBI) were intent on using the Anarchist Exclusion Act and its 1918 expansion to deport any non-citizens they could identify as advocates of anarchy or revolution. "Emma Goldman and Alexander Berkman. Hoover wrote while they were in prison, are, beyond doubt, two of the most dangerous anarchists in this country and return to the community will result in undue harm. 110] At her deportation hearing on October 27, Goldman refused to answer questions about her beliefs, on the grounds that her American citizenship invalidated any attempt to deport her under the Anarchist Exclusion Act, which could be enforced only against non-citizens of the US. She presented a written statement instead: Today so-called aliens are deported. Tomorrow native Americans will be banished. Already some patrioteers are suggesting that native American sons to whom democracy is a sacred ideal should be exiled. 111] Louis Post at the Department of Labor, which had ultimate authority over deportation decisions, determined that the revocation of her husband Kershner's American citizenship in 1908 after his conviction had revoked hers as well. After initially promising a court fight, 112] Goldman decided not to appeal his ruling. [113] The Labor Department included Goldman and Berkman among 249 aliens it deported en masse, mostly people with only vague associations with radical groups, who had been swept up in government raids in November. [114] Buford, a ship the press nicknamed the "Soviet Ark. sailed from the Army's New York Port of Embarkation on December 21. [115] 116] Some 58 enlisted men and four officers provided security on the journey, and pistols were distributed to the crew. [115] 117] Most of the press approved enthusiastically. The Cleveland Plain Dealer wrote: It is hoped and expected that other vessels, larger, more commodious, carrying similar cargoes, will follow in her wake. 118] The ship landed her charges in Hanko, Finland on Saturday, January 17, 1920. [119] Upon arrival in Finland, authorities there conducted the deportees to the Russian frontier under a flag of truce. [120] 121] Here, Emma Goldman delivers a eulogy at Peter Kropotkin 's funeral procession. Immediately in front of Goldman stands her lifelong comrade Alexander Berkman. Kropotkin's funeral was the occasion of the last great demonstration of anarchists in Moscow—tens of thousands of people poured into the streets to pay their respects. Goldman initially viewed the Bolshevik revolution in a positive light. She wrote in Mother Earth that despite its dependence on Communist government, it represented "the most fundamental, far-reaching and all-embracing principles of human freedom and of economic well-being. 122] By the time she neared Europe, however, she expressed fears about what was to come. She was worried about the ongoing Russian Civil War and the possibility of being seized by anti-Bolshevik forces. The state, anti-capitalist though it was, also posed a threat. "I could never in my life work within the confines of the State. she wrote to her niece, Bolshevist or otherwise. 123] She quickly discovered that her fears were justified. Days after returning to Petrograd (Saint Petersburg) she was shocked to hear a party official refer to free speech as a "bourgeois superstition. 124] As she and Berkman traveled around the country, they found repression, mismanagement, and corruption [125] instead of the equality and worker empowerment they had dreamed of. Those who questioned the government were demonized as counter-revolutionaries, 125] and workers labored under severe conditions. [125] They met with Vladimir Lenin, who assured them that government suppression of press liberties was justified. He told them: There can be no free speech in a revolutionary period. 126] Berkman was more willing to forgive the government's actions in the name of "historical necessity" but he eventually joined Goldman in opposing the Soviet state's authority. [127] In March 1921, strikes erupted in Petrograd when workers took to the streets demanding better food rations and more union autonomy. Goldman and Berkman felt a responsibility to support the strikers, stating: To remain silent now is impossible, even criminal. 128] The unrest spread to the port town of Kronstadt, where the government ordered a military response to suppress striking soldiers and sailors. In the Kronstadt rebellion, approximately 1, 000 rebelling sailors and soldiers were killed and two thousand more were arrested; many were later executed. In the wake of these events, Goldman and Berkman decided there was no future in the country for them. "More and more" she wrote, we have come to the conclusion that we can do nothing here. And as we can not keep up a life of inactivity much longer we have decided to leave. 129] In December 1921, they left the country and went to the Latvian capital city of Riga. The US commissioner in that city wired officials in Washington DC, who began requesting information from other governments about the couple's activities. After a short trip to Stockholm, they moved to Berlin for several years; during this time Goldman agreed to write a series of articles about her time in Russia for Joseph Pulitzer 's newspaper, the New York World. These were later collected and published in book form as My Disillusionment in Russia (1923) and My Further Disillusionment in Russia (1924. The publishers added these titles to attract attention; Goldman protested, albeit in vain. [130] England, Canada, and France Goldman found it difficult to acclimate to the German leftist community in Berlin. Communists despised her outspokenness about Soviet repression; liberals derided her radicalism. While Berkman remained in Berlin helping Russian exiles, Goldman moved to London in September 1924. Upon her arrival, the novelist Rebecca West arranged a reception dinner for her, attended by philosopher Bertrand Russell, novelist H. Wells, and more than 200 other guests. When she spoke of her dissatisfaction with the Soviet government, the audience was shocked. Some left the gathering; others berated her for prematurely criticizing the Communist experiment. [131] Later, in a letter, Russell declined to support her efforts at systemic change in the Soviet Union and ridiculed her anarchist idealism. [132] In 1925, the spectre of deportation loomed again, but a Scottish anarchist named James Colton offered to marry her and provide British citizenship. Although they were only distant acquaintances, she accepted and they were married on June 27, 1925. Her new status gave her peace of mind, and allowed her to travel to France and Canada. [133] Life in London was stressful for Goldman; she wrote to Berkman: I am awfully tired and so lonely and heartsick. It is a dreadful feeling to come back here from lectures and find not a kindred soul, no one who cares whether one is dead or alive. 134] She worked on analytical studies of drama, expanding on the work she had published in 1914. But the audiences were "awful. and she never finished her second book on the subject. [135] Goldman traveled to Canada in 1927, just in time to receive news of the impending executions of Italian anarchists Nicola Sacco and Bartolomeo Vanzetti in Boston. Angered by the many irregularities of the case, she saw it as another travesty of justice in the US. She longed to join the mass demonstrations in Boston; memories of the Haymarket affair overwhelmed her, compounded by her isolation. "Then. she wrote, I had my life before me to take up the cause for those killed. Now I have nothing. 136] 137] In 1928, she began writing her autobiography, with the support of a group of American admirers, including journalist H. L. Mencken, poet Edna St. Vincent Millay, novelist Theodore Dreiser and art collector Peggy Guggenheim, who raised 4, 000 for her. [138] She secured a cottage in the French coastal city of Saint-Tropez and spent two years recounting her life. Berkman offered sharply critical feedback, which she eventually incorporated at the price of a strain on their relationship. [139] Goldman intended the book, Living My Life, as a single volume for a price the working class could afford (she urged no more than 5. 00) her publisher Alfred A. Knopf, however, released it as two volumes sold together for 7. 50. Goldman was furious, but unable to force a change. Due in large part to the Great Depression, sales were sluggish despite keen interest from libraries around the US. [140] Critical reviews were generally enthusiastic; The New York Times, The New Yorker, and Saturday Review of Literature all listed it as one of the year's top non-fiction books. [141] In 1933, Goldman received permission to lecture in the United States under the condition that she speak only about drama and her autobiography—but not current political events. She returned to New York on February 2, 1934 to generally positive press coverage—except from Communist publications. Soon she was surrounded by admirers and friends, besieged with invitations to talks and interviews. Her visa expired in May, and she went to Toronto in order to file another request to visit the US. However, this second attempt was denied. She stayed in Canada, writing articles for US publications. [142] In February and March 1936, Berkman underwent a pair of prostate gland operations. Recuperating in Nice and cared for by his companion, Emmy Eckstein, he missed Goldman's sixty-seventh birthday in Saint-Tropez in June. She wrote in sadness, but he never read the letter; she received a call in the middle of the night that Berkman was in great distress. She left for Nice immediately but when she arrived that morning, Goldman found that he had shot himself and was in a nearly comatose paralysis. He died later that evening. [143] 144] Spanish Civil War In July 1936, the Spanish Civil War started after an attempted coup d'état by parts of the Spanish Army against the government of the Second Spanish Republic. At the same time, the Spanish anarchists, fighting against the Nationalist forces, started an anarchist revolution. Goldman was invited to Barcelona and in an instant, as she wrote to her niece, the crushing weight that was pressing down on my heart since Sasha's death left me as by magic. 145] She was welcomed by the Confederación Nacional del Trabajo (CNT) and Federación Anarquista Ibérica (FAI) organizations, and for the first time in her life lived in a community run by and for anarchists, according to true anarchist principles. "In all my life" she wrote later, I have not met with such warm hospitality, comradeship and solidarity. 146] After touring a series of collectives in the province of Huesca, she told a group of workers: Your revolution will destroy forever [the notion] that anarchism stands for chaos. 147] She began editing the weekly CNT-FAI Information Bulletin and responded to English-language mail. [148] Goldman began to worry about the future of Spain's anarchism when the CNT-FAI joined a coalition government in 1937—against the core anarchist principle of abstaining from state structures—and, more distressingly, made repeated concessions to Communist forces in the name of uniting against fascism. In November 1936, she wrote that cooperating with Communists in Spain was "a denial of our comrades in Stalin's concentration camps. 149] Russia, meanwhile, refused to send weapons to anarchist forces, and disinformation campaigns were being waged against the anarchists across Europe and the US. Her faith in the movement unshaken, Goldman returned to London as an official representative of the CNT-FAI. [150] Delivering lectures and giving interviews, Goldman enthusiastically supported the Spanish anarcho-syndicalists. She wrote regularly for Spain and the World, a biweekly newspaper focusing on the civil war. In May 1937, however, Communist-led forces attacked anarchist strongholds and broke up agrarian collectives. Newspapers in England and elsewhere accepted the timeline of events offered by the Second Spanish Republic at face value. British journalist George Orwell, present for the crackdown, wrote. T]he accounts of the Barcelona riots in May... beat everything I have ever seen for lying. 151] Goldman returned to Spain in September, but the CNT-FAI appeared to her like people "in a burning house. Worse, anarchists and other radicals around the world refused to support their cause. [152] The Nationalist forces declared victory in Spain just before she returned to London. Frustrated by England's repressive atmosphere—which she called "more fascist than the fascists" 153] —she returned to Canada in 1939. Her service to the anarchist cause in Spain was not forgotten, however. On her seventieth birthday, the former Secretary-General of the CNT-FAI, Mariano Vázquez, sent a message to her from Paris, praising her for her contributions and naming her as "our spiritual mother. She called it "the most beautiful tribute I have ever received. 154] Final years As the events preceding World War II began to unfold in Europe, Goldman reiterated her opposition to wars waged by governments. M]uch as I loathe Hitler, Mussolini, Stalin and Franco. she wrote to a friend, I would not support a war against them and for the democracies which, in the last analysis, are only Fascist in disguise. 155] She felt that Britain and France had missed their opportunity to oppose fascism, and that the coming war would only result in "a new form of madness in the world. 155] Death On Saturday, February 17, 1940, Goldman suffered a debilitating stroke. She became paralyzed on her right side, and although her hearing was unaffected, she could not speak. As one friend described it: Just to think that here was Emma, the greatest orator in America, unable to utter one word. 156] For three months she improved slightly, receiving visitors and on one occasion gesturing to her address book to signal that a friend might find friendly contacts during a trip to Mexico. She suffered another stroke on May 8, however, and on May 14 she died in Toronto, aged 70. [157] 158] The US Immigration and Naturalization Service allowed her body to be brought back to the United States. She was buried in German Waldheim Cemetery (now named Forest Home Cemetery) in Forest Park, Illinois, a western suburb of Chicago, near the graves of those executed after the Haymarket affair. [159] The bas relief on her grave marker was created by sculptor Jo Davidson. [160] Philosophy Goldman spoke and wrote extensively on a wide variety of issues. While she rejected orthodoxy and fundamentalist thinking, she was an important contributor to several fields of modern political philosophy. She was influenced by many diverse thinkers and writers, including Mikhail Bakunin, Henry David Thoreau, Peter Kropotkin, Ralph Waldo Emerson, Nikolai Chernyshevsky, and Mary Wollstonecraft. Another philosopher who influenced Goldman was Friedrich Nietzsche. In her autobiography, she wrote: Nietzsche was not a social theorist, but a poet, a rebel, and innovator. His aristocracy was neither of birth nor of purse; it was the spirit. In that respect Nietzsche was an anarchist, and all true anarchists were aristocrats. 161] Anarchism Anarchism was central to Goldman's view of the world and she is today considered one of the most important figures in the history of anarchism. First drawn to it during the persecution of anarchists after the 1886 Haymarket affair, she wrote and spoke regularly on behalf of anarchism. In the title essay of her book Anarchism and Other Essays, she wrote: Anarchism, then, really stands for the liberation of the human mind from the dominion of religion; the liberation of the human body from the dominion of property; liberation from the shackles and restraint of government. Anarchism stands for a social order based on the free grouping of individuals for the purpose of producing real social wealth; an order that will guarantee to every human being free access to the earth and full enjoyment of the necessities of life, according to individual desires, tastes, and inclinations. [162] Goldman's anarchism was intensely personal. She believed it was necessary for anarchist thinkers to live their beliefs, demonstrating their convictions with every action and word. "I don't care if a man's theory for tomorrow is correct. she once wrote. "I care if his spirit of today is correct. 163] Anarchism and free association were to her logical responses to the confines of government control and capitalism. "It seems to me that these are the new forms of life. she wrote, and that they will take the place of the old, not by preaching or voting, but by living them. 163] At the same time, she believed that the movement on behalf of human liberty must be staffed by liberated humans. While dancing among fellow anarchists one evening, she was chided by an associate for her carefree demeanor. In her autobiography, Goldman wrote: I told him to mind his own business, I was tired of having the Cause constantly thrown in my face. I did not believe that a Cause which stood for a beautiful ideal, for anarchism, for release and freedom from conventions and prejudice, should demand denial of life and joy. I insisted that our Cause could not expect me to behave as a nun and that the movement should not be turned into a cloister. If it meant that, I did not want it. "I want freedom, the right to self-expression, everybody's right to beautiful, radiant things. 164] Tactical uses of violence Goldman, in her political youth, held targeted violence to be a legitimate means of revolutionary struggle. Goldman at the time believed that the use of violence, while distasteful, could be justified in relation to the social benefits it might accrue. She advocated propaganda of the deed — attentat, or violence carried out to encourage the masses to revolt. She supported her partner Alexander Berkman 's attempt to kill industrialist Henry Clay Frick, and even begged him to allow her to participate. [165] She believed that Frick's actions during the Homestead strike were reprehensible and that his murder would produce a positive result for working people. "Yes. she wrote later in her autobiography, the end in this case justified the means. 165] While she never gave explicit approval of Leon Czolgosz 's assassination of US President William McKinley, she defended his ideals and believed actions like his were a natural consequence of repressive institutions. As she wrote in "The Psychology of Political Violence. the accumulated forces in our social and economic life, culminating in an act of violence, are similar to the terrors of the atmosphere, manifested in storm and lightning. 166] Her experiences in Russia led her to qualify her earlier belief that revolutionary ends might justify violent means. In the afterword to My Disillusionment in Russia, she wrote: There is no greater fallacy than the belief that aims and purposes are one thing, while methods and tactics are another. The means employed become, through individual habit and social practice, part and parcel of the final purpose. In the same chapter, however, Goldman affirmed that "Revolution is indeed a violent process. and noted that violence was the "tragic inevitability of revolutionary upheavals. 167] Some misinterpreted her comments on the Bolshevik terror as a rejection of all militant force, but Goldman corrected this in the preface to the first US edition of My Disillusionment in Russia: The argument that destruction and terror are part of revolution I do not dispute. I know that in the past every great political and social change necessitated slavery might still be a legalized institution in the United States but for the militant spirit of the John Browns. I have never denied that violence is inevitable, nor do I gainsay it now. Yet it is one thing to employ violence in combat, as a means of defense. It is quite another thing to make a principle of terrorism, to institutionalize it, to assign it the most vital place in the social struggle. Such terrorism begets counter-revolution and in turn itself becomes counter-revolutionary. Goldman saw the militarization of Soviet society not as a result of armed resistance per se, but of the statist vision of the Bolsheviks, writing that "an insignificant minority bent on creating an absolute State is necessarily driven to oppression and terrorism. 168] Capitalism and labor Goldman believed that the economic system of capitalism was incompatible with human liberty. "The only demand that property recognizes. she wrote in Anarchism and Other Essays, is its own gluttonous appetite for greater wealth, because wealth means power; the power to subdue, to crush, to exploit, the power to enslave, to outrage, to degrade. 169] She also argued that capitalism dehumanized workers, turning the producer into a mere particle of a machine, with less will and decision than his master of steel and iron. 169] Originally opposed to anything less than complete revolution, Goldman was challenged during one talk by an elderly worker in the front row. In her autobiography, she wrote: He said that he understood my impatience with such small demands as a few hours less a day, or a few dollars more a week. But what were men of his age to do? They were not likely to live to see the ultimate overthrow of the capitalist system. Were they also to forgo the release of perhaps two hours a day from the hated work? That was all they could hope to see realized in their lifetime. [32] Goldman realized that smaller efforts for improvement such as higher wages and shorter hours could be part of a social revolution. The state – militarism, prison, voting, speech Goldman viewed the state as essentially and inevitably a tool of control and domination. As a result, Goldman believed that voting was useless at best and dangerous at worst. Voting, she wrote, provided an illusion of participation while masking the true structures of decision-making. Instead, Goldman advocated targeted resistance in the form of strikes, protests, and "direct action against the invasive, meddlesome authority of our moral code. 170] She maintained an anti-voting position even when many anarcho-syndicalists in 1930s Spain voted for the formation of a liberal republic. Goldman wrote that any power anarchists wielded as a voting bloc should instead be used to strike across the country. [171] She disagreed with the movement for women's suffrage, which demanded the right of women to vote. In her essay "Woman Suffrage" she ridicules the idea that women's involvement would infuse the democratic state with a more just orientation: As if women have not sold their votes, as if women politicians cannot be bought. 172] She agreed with the suffragists' assertion that women are equal to men, but disagreed that their participation alone would make the state more just. "To assume, therefore, that she would succeed in purifying something which is not susceptible of purification, is to credit her with supernatural powers. 173] Goldman was also a passionate critic of the prison system, critiquing both the treatment of prisoners and the social causes of crime. Goldman viewed crime as a natural outgrowth of an unjust economic system, and in her essay "Prisons: A Social Crime and Failure" she quoted liberally from the 19th-century authors Fyodor Dostoevsky and Oscar Wilde on prisons, and wrote: Year after year the gates of prison hells return to the world an emaciated, deformed, will-less, shipwrecked crew of humanity, with the Cain mark on their foreheads, their hopes crushed, all their natural inclinations thwarted. With nothing but hunger and inhumanity to greet them, these victims soon sink back into crime as the only possibility of existence. [174] Goldman was a committed war resister, believing that wars were fought by the state on behalf of capitalists. She was particularly opposed to the draft, viewing it as one of the worst of the state's forms of coercion, and was one of the founders of the No-Conscription League —for which she was ultimately arrested (1917) imprisoned and deported (1919. Goldman was routinely surveilled, arrested, and imprisoned for her speech and organizing activities in support of workers and various strikes, access to birth control, and in opposition to World War I. As a result, she became active in the early 20th century free speech movement, seeing freedom of expression as a fundamental necessity for achieving social change. [175] 176] 177] 178] Her outspoken championship of her ideals, in the face of persistent arrests, inspired Roger Baldwin, one of the founders of the American Civil Liberties Union. [179] Goldman's and Reitman's experiences in the San Diego free speech fight (1912) were notorious examples of state and capitalist repression of the Industrial Workers of the World 's campaign of free speech fights. Feminism and sexuality Although she was hostile to the suffragist goals of first-wave feminism, Goldman advocated passionately for the rights of women, and is today heralded as a founder of anarcha-feminism, which challenges patriarchy as a hierarchy to be resisted alongside state power and class divisions. [180] In 1897, she wrote: I demand the independence of woman, her right to support herself; to live for herself; to love whomever she pleases, or as many as she pleases. I demand freedom for both sexes, freedom of action, freedom in love and freedom in motherhood. 181] A nurse by training, Goldman was an early advocate for educating women concerning contraception. Like many feminists of her time, she saw abortion as a tragic consequence of social conditions, and birth control as a positive alternative. Goldman was also an advocate of free love, and a strong critic of marriage. She saw early feminists as confined in their scope and bounded by social forces of Puritanism and capitalism. She wrote: We are in need of unhampered growth out of old traditions and habits. The movement for women's emancipation has so far made but the first step in that direction. 182] 183] Goldman was also an outspoken critic of prejudice against homosexuals. Her belief that social liberation should extend to gay men and lesbians was virtually unheard of at the time, even among anarchists. [184] As German sexologist Magnus Hirschfeld wrote, she was the first and only woman, indeed the first and only American, to take up the defense of homosexual love before the general public. 185] In numerous speeches and letters, she defended the right of gay men and lesbians to love as they pleased and condemned the fear and stigma associated with homosexuality. As Goldman wrote in a letter to Hirschfeld, It is a tragedy, I feel, that people of a different sexual type are caught in a world which shows so little understanding for homosexuals and is so crassly indifferent to the various gradations and variations of gender and their great significance in life. 185] Atheism A committed atheist, Goldman viewed religion as another instrument of control and domination. Her essay "The Philosophy of Atheism" quoted Bakunin at length on the subject and added: Consciously or unconsciously, most theists see in gods and devils, heaven and hell, reward and punishment, a whip to lash the people into obedience, meekness and contentment. The philosophy of Atheism expresses the expansion and growth of the human mind. The philosophy of theism, if we can call it a philosophy, is static and fixed. [186] In essays like "The Hypocrisy of Puritanism" and a speech entitled "The Failure of Christianity" Goldman made more than a few enemies among religious communities by attacking their moralistic attitudes and efforts to control human behavior. She blamed Christianity for "the perpetuation of a slave society" arguing that it dictated individuals' actions on Earth and offered poor people a false promise of a plentiful future in heaven. [187] She was also critical of Zionism, which she saw as another failed experiment in state control. [188] Legacy Goldman's image, often accompanying a popular paraphrase of her ideas—"If I can't dance, I don't want to be in your revolution"—has been reproduced on countless walls, garments, stickers, and posters as an icon of freedom. Goldman was well known during her life, described as—among other things—"the most dangerous woman in America. 189] After her death and through the middle part of the 20th century, her fame faded. Scholars and historians of anarchism viewed her as a great speaker and activist, but did not regard her as a philosophical or theoretical thinker on par with, for example, Kropotkin. [190] In 1970, Dover Press reissued Goldman's biography, Living My Life, and in 1972, feminist writer Alix Kates Shulman issued a collection of Goldman's writing and speeches, Red Emma Speaks. These works brought Goldman's life and writings to a larger audience, and she was in particular lionized by the women's movement of the late 20th century. In 1973, Shulman was asked by a printer friend for a quotation by Goldman for use on a T-shirt. She sent him the selection from Living My Life about "the right to self-expression, everybody's right to beautiful, radiant things" recounting that she had been admonished "that it did not behoove an agitator to dance. 191] The printer created a statement based on these sentiments that has become one of Goldman's most famous quotations, even though she probably never said or wrote it as such: If I can't dance I don't want to be in your revolution. 192] Variations of this saying have appeared on thousands of T-shirts, buttons, posters, bumper stickers, coffee mugs, hats, and other items. [191] The women's movement of the 1970s that "rediscovered" Goldman was accompanied by a resurgent anarchist movement, beginning in the late 1960s, which also reinvigorated scholarly attention to earlier anarchists. The growth of feminism also initiated some reevaluation of Goldman's philosophical work, with scholars pointing out the significance of Goldman's contributions to anarchist thought in her time. Goldman's belief in the value of aesthetics, for example, can be seen in the later influences of anarchism and the arts. Similarly, Goldman is now given credit for significantly influencing and broadening the scope of activism on issues of sexual liberty, reproductive rights, and freedom of expression. [193] Goldman has been depicted in numerous works of fiction over the years, including Warren Beatty 's 1981 film Reds, in which she was portrayed by Maureen Stapleton, who won an Academy Award for her performance. Goldman has also been a character in two Broadway musicals, Ragtime and Assassins. Plays depicting Goldman's life include Howard Zinn 's play, Emma; 194] Martin Duberman 's Mother Earth; 195] Jessica Litwak's Emma Goldman: Love, Anarchy, and Other Affairs (about Goldman's relationship with Berkman and her arrest in connection with McKinley's assassination) Lynn Rogoff 's Love Ben, Love Emma (about Goldman's relationship with Reitman. 196] Carol Bolt 's Red Emma; 197] and Alexis Roblan's Red Emma and the Mad Monk. [198] Ethel Mannin 's 1941 novel Red Rose is also based on Goldman's Life. [199] Goldman has been honored by a number of organizations named in her memory. The Emma Goldman Clinic, a women's health center located in Iowa City, Iowa, selected Goldman as a namesake "in recognition of her challenging spirit. 200] Red Emma's Bookstore Coffeehouse, an infoshop in Baltimore, Maryland adopted her name out of their belief "in the ideas and ideals that she fought for her entire life: free speech, sexual and racial equality and independence, the right to organize in our jobs and in our own lives, ideas and ideals that we continue to fight for, even today. 201] Paul Gailiunas and his late wife Helen Hill co-wrote the anarchist song "Emma Goldman" which was performed and released by the band Piggy: The Calypso Orchestra of the Maritimes in 1999. [202] The song was later performed by Gailiunas' new band The Troublemakers and released on their 2004 album Here Come The Troublemakers. [202] UK punk band Martha 's song "Goldman's Detective Agency" reimagines Goldman as a private detective investigating police and political corruption. [203] Works Goldman was a prolific writer, penning countless pamphlets and articles on a diverse range of subjects. She authored six books, including an autobiography, Living My Life, and a biography of fellow anarchist Voltairine de Cleyre. [204] Anarchism and Other Essays. New York: Mother Earth Publishing Association, 1910. The Social Significance of the Modern Drama. Boston: Gorham Press, 1914. My Disillusionment in Russia. Garden City, New York: Doubleday, Page and Co., 1923. My Further Disillusionment in Russia. Garden City, New York: Doubleday, Page and Co., 1924. Living My Life. New York: Knopf, 1931. Voltairine de Cleyre. Berkeley Heights, New Jersey: Oriole Press, 1932. Edited collections Red Emma Speaks: Selected Writings and Speeches. New York: Random House, 1972. ISBN 0-394-47095-8. Emma Goldman: A Documentary History of the American Years, Volume 1 – Made for America, 1890–1901. Berkeley: University of California Press, 2003. ISBN 0-520-08670-8. Emma Goldman: A Documentary History of the American Years, Volume 2 – Making Speech Free, 1902–1909. Berkeley: University of California Press, 2004. ISBN 0-520-22569-4. Emma Goldman: A Documentary History of the American Years, Volume 3 – Light and Shadows, 1910–1916. Stanford: Stanford University Press, 2012. ISBN 0-8047-7854-X. See also Emma Goldman: The Anarchist Guest History of the birth control movement in the United States John R. Coryell List of peace activists List of women's rights activists References ^ Diggs, Nancy Brown (1998. Steel Butterflies: Japanese Women and the American Experience. Albany: State Univ. of New York Press. p. 99. ISBN 0791436233. Like other radicals of the time, Noe Itō was most influenced by none other than Emma Goldman. ^ a b University of Illinois at Chicago Biography of Emma Goldman Archived September 11, 2013, at the Wayback Machine. UIC Library Emma Goldman Collection. Retrieved on December 13, 2008. ^ Streitmatter, Rodger (2001. Voices of Revolution: The Dissident Press in America. New York: Columbia University Press. pp. 122–134. ISBN 0-231-12249-7. ^ Goldman, Living, p. 24. ^ a b c Goldman, Living, p. 447. ^ Drinnon, Rebel, p. 5. ^ The order of birth is unclear; Wexler (in Intimate, p. 13) notes that although Goldman writes as being her mother's fourth child, her brother Louis (who died at the age of six) was probably born after her. ^ Chalberg, p. 12. ^ Chalberg, p. 13. ^ Drinnon, Rebel, p. 12. ^ Goldman, Living, p. 11. ^ Wexler, Intimate, p. 12. ^ Wexler, Intimate, pp. 13–14. ^ Goldman, Living, p. 20. ^ Goldman, Living, p. 28. ^ Drinnon, Rebel, pp. 6–7. ^ Chalberg, p. 15. ^ Goldman, Living, p. 23–26. ^ a b Chalberg, p. 16. ^ Goldman, Living, p. 22. ^ Falk, Love, p. 14. ^ a b Goldman, Living, p. 23. ^ Wexler, Intimate, p. 27. ^ Wexler, Intimate, pp. 30–31. ^ Falk, Love, pp. 15–16. ^ Drinnon, Rebel, pp. 15–17. ^ Chalberg, p. 27. ^ Chalberg, pp. 27–28. ^ Goldman, Living, p. 40. ^ Goldman, Living, p. 51. ^ a b Goldman, Living, p. 52. ^ Goldman, Living, p. 54. ^ Wexler, Intimate, p. 53. ^ Wexler, Intimate, p. 57. ^ Wexler, Intimate, pp. 57–58. ^ People & Events: Henry Clay Frick (1849–1919. PBS. March 11, 2004. Archived from the original on July 12, 2015. Retrieved July 10, 2015. ^ Southwick, Albert B. (June 26, 2014. Emma Goldman pays a visit. Telegram & Gazette. Worcester, Massachusetts. Retrieved July 10, 2015. ^ Wexler, Intimate, pp. 61–62. ^ Quoted in Wexler, Intimate, p. 63. ^ Wexler, Intimate, pp. 63–65. ^ a b Goldman, Living, p. 91. ^ Drinnon, Rebel, p. 45. ^ Chalberg, pp. 42–43; Falk, Love, p. 25; Wexler, Intimate, p. 65. ^ Alexander Berkman, the Anarchist, to Be Deported; Case of Emma Goldman Now Up for Decision. The New York Times. November 26, 1919. ^ Goldman, Living, p. 106. ^ Wexler, Intimate, p. 65. ^ Wexler, Intimate, pp. 65–66. ^ Goldman, Living, p. 105. ^ Quoted in Wexler, Intimate, p. 66. ^ Panic of 1893" Archived May 7, 2008, at the Wayback Machine. Ohio History Central. Ohio Historical Society, 2007. Retrieved on December 18, 2007. ^ Quoted in Chalberg, p. 46. ^ Goldman, Living, p. 123. ^ Drinnon, Rebel, pp. 58–59. ^ Wexler, Intimate, p. 76. ^ Drinnon, Rebel, p. 57. ^ Nellie Bly, Nelly Bly Again: She Interviews Emma Goldman and Other Anarchists" New York World, September 17, 1893. ^ Drinnon, Rebel, p. 60. ^ Wexler, Intimate, p. 78. ^ Wexler, Intimate, pp. 78–79. ^ Wexler, Intimate, pp. 84–89. ^ Chalberg, pp. 65–66. ^ Drinnon, Rebel, p. 68. ^ Chalberg, p. 73. ^ Wexler, Intimate, p. 104. ^ Wexler, Intimate, pp. 103–104. ^ Goldman, Living, p. 300. ^ Quoted in Chalberg, p. 74. ^ a b Chalberg, p. 78. ^ Falk, The American Years, p. 461. ^ Wexler, Intimate, pp. 106–112. ^ Quoted in Chalberg, p. 81. ^ Goldman, Living, p. 318. ^ Wexler, Intimate, p. 115. ^ Falk, Making Speech Free, p. 557. ^ Chalberg, pp. 84–87. ^ Quoted in Chalberg, p. 87. ^ Goldman, Living, p. 377. ^ Chalberg, pp. 88–91. ^ Wexler, Intimate, pp. 121–130. ^ Goldman, Living, p. 384. ^ Chalberg, p. 94. ^ Drinnon, Rebel, pp. 97–98. ^ Quoted in Goldman, Living, p. 391. ^ Drinnon, Rebel, p. 98. ^ Chalberg, p. 97. ^ Wexler, Intimate, pp. 135–137. ^ Wexler, Intimate, p. 166. ^ Wexler, Intimate, p. 168. ^ Wexler, Intimate, pp. 140–147. ^ a b Goldman, Anarchism, p. 49. ^ Alice S. Rossi. The Feminist Papers: From Adams to de Beauvoir. Lebanon, New Hampshire: Northeastern University Press, 1988, p. 507 ^ Quoted in Wexler, Intimate, p. 210. ^ Today in History: February 11. Library of Congress. Retrieved January 28, 2014. ^ Wexler, Intimate, pp. 211–215. ^ Drinnon, Rebel, pp. 186–187; Wexler, Intimate, p. 230. ^ Berkman, p. 155. ^ Drinnon, Rebel, pp. 186–187. ^ Chalberg, p. 129. ^ a b "Emma Goldman and A. Berkman Behind the Bars. June 16, 1917. Retrieved December 17, 2007. ^ Quoted in Wexler, Intimate, p. 232. ^ Quoted in Chalberg, p. 134. ^ Shaw, Francis H. (July 1964. The Trials of Emma Goldman, Anarchist. The Review of Politics. 26 (3) 444–445. doi: 10. 1017/S0034670500005210. Prosecuted under the Espionage Act of 1917 for obstructing the draft, Emma Goldman... ^ Trial and Speeches of Alexander Berkman and Emma Goldman in the United States District Court, in the City of New York, July 1917 (New York: Mother Earth Publishing Association, 1917) Wexler, Intimate, p. 235–244. ^ Quoted in Chalberg, p. 141. ^ Chalberg, pp. 141–142. ^ Wexler, Intimate, p. 253–263. ^ Quoted in Drinnon, Rebel, p. 215. ^ Deportation Defied by Emma Goldman. October 28, 1919. Retrieved February 4, 2010. ^ Will Fight Deportation. December 1, 1919. Retrieved February 4, 2010. ^ Post, pp. 13–14. ^ McCormick, pp. 158–163. ^ a b. Ark' with 300 Reds Sails Early Today for Unnamed Port. December 21, 1919. Retrieved February 1, 2010. ^ Clay, Steven E. (2011. U. Army Order Of Battle 1919–1941 (PDF. Volume 4. The Services: Quartermaster, Medical, Military Police, Signal Corps, Chemical Warfare, And Miscellaneous Organizations, 1919–41. 4. Fort Leavenworth, KS 66027: Combat Studies Institute Press. ISBN 9780984190140. LCCN 2010022326. Retrieved October 23, 2014. CS1 maint: location ( link) Post, p. 4. ^ Murray, 208-9 ^ Soviet Ark Lands its Reds in Finland. January 18, 1920. Retrieved February 1, 2010. ^ Murray, pp. 207–208. ^ Post, pp. 1–11. ^ Quoted in Wexler, Intimate, p. 243. ^ Quoted in Wexler, Exile, p. 17. ^ Quoted in Chalberg, p. 150. ^ a b c Goldman, Emma. Living My Life. 1931. New York: Dover Publications Inc., 1970. ISBN 0-486-22543-7. ^ Quoted in Drinnon, Rebel, p. 235. ^ Drinnon, Rebel, pp. 236–237. ^ Quoted in Drinnon, Rebel, p. 237. ^ Wexler, Exile, pp. 47–49. ^ Wexler, Exile, pp. 56–58. ^ Chalberg, pp. 161–162. ^ Quoted in Wexler, Exile, p. 96. ^ Falk, Love, pp. 209–210. ^ Quoted in Wexler, Exile, p. 111. ^ Wexler, Exile, p. 115. ^ Quoted in Chalberg, p. 164. ^ Wexler, Exile, p. 122. ^ Mary V. Dearborn, Mistress of Modernism: The Life of Peggy Guggenheim, Houghton Mifflin, 2004, pp. 61–62 ^ Wexler, Exile, p. 135. ^ Chalberg, pp. 165–166. ^ Wexler, Exile, p. 154. ^ Wexler, Exile, pp. 158–164. ^ Wexler, Emma Goldman in Exile, pp. 193–194. ^ Drinnon, Rebel, pp. 298–300. ^ Drinnon, Rebel, pp. 301–302. ^ Quoted in Wexler, p. 232. ^ Quoted in Drinnon, Rebel, p. 303. ^ Wexler, Exile, p. 205. ^ Quoted in Wexler, Exile, p. 209. ^ Wexler, Exile, pp. 216. ^ Wexler, Exile, p. 222. ^ Quoted in Wexler, p. 226. ^ Both quoted in Wexler, Exile, p. 232. ^ a b Quoted in Wexler, Exile, p. 236. ^ Quoted in Wexler, Exile, p. 240. ^ Wexler, pp. 240–241. ^ Emma Goldman, Anarchist, Dead. Internationally Known Figure, Deported From The U. S., Is Stricken In Toronto. Disillusioned By Soviets Opposed Lenin And Trotsky As Betrayers Of Socialism Through Despotism. May 14, 1940. Retrieved April 20, 2008. Emma Goldman, internationally known anarchist, died early today at her home here after an illness of several months. She was 70 years old. ^ Drinnon, Rebel, pp. 312–313. ^ Avrich, Paul (2005. Anarchist Voices: An Oral History of Anarchism in America. AK Press. p. 491. ISBN 9781904859277. Retrieved December 14, 2015. ^ Goldman, Living, 194. ^ Goldman, Anarchism, p. 62. ^ a b Quoted in Wexler, Intimate, p. 92. ^ Goldman, Living, p. 56. ^ a b Goldman, Living, p. 88. ^ Goldman, Anarchism, p. 79. ^ Goldman, Disillusionment, pp. 260–264. ^ Preface to First Volume of American Edition" for My Disillusionment in Russia (Emma Goldman Papers Project, University of California-Berkeley. ^ a b Goldman, Anarchism, p. 91. ^ Wexler, Exile, p. 167. ^ Goldman, Anarchism, p. 205. ^ Goldman, Anarchism, p. 198. ^ Goldman, Anarchism, p. 120. ^ See generally Living My Life. ^ See Geoffrey R. Stone, Perilous Times: Free Speech in Wartime, From the Sedition Act of 1798 to the War on Terrorism (2004) pp. 139–152 (discussing persecution of Goldman and other anti-war activists, and the passage of the Espionage Act of 1917. ^ Falk, Making Speech Free. ^ David M. Rabban, Free Speech In Its Forgotten Years (1997. ^ Christopher M. Finan, From the Palmer Raids to the Patriot Act: A History of the Fight for Free Speech in America, p. 18. ^ Marshall, p. 409. ^ Quoted in Wexler, Intimate, p. 94. ^ Goldman, Anarchism, p. 224. ^ See generally Haaland; Goldman, The Traffic in Women" Goldman, On Love. ^ Katz, Jonathan Ned (1992. Gay American History: Lesbians and Gay Men in the U. A. New York City: Penguin Books. pp. 376–380. ^ a b Goldman, Emma (1923. Offener Brief an den Herausgeber der Jahrbücher über Louise Michel" with a preface by Magnus Hirschfeld. Jahrbuch für sexuelle Zwischenstufen. 23: 70. Translated from German by James Steakley. Goldman's original letter in English is not known to be extant. ^ Goldman, Emma (February 1916. The Philosophy of Atheism. Mother Earth. Retrieved December 7, 2007. ^ Goldman, The Failure of Christianity" Archived May 12, 2008, at the Wayback Machine. Mother Earth, April 1913. ^ Wexler, Exile, p. 41. ^ Avrich, Paul (2006. p. 45. ISBN 1-904859-27-5. ^ Marshall, pp. 396–401. ^ a b Wexler, Exile, p. 1. ^ Shulman, Alix Kates. Dances with Feminists. Women's Review of Books, Vol. IX, 3. December 1991. Retrieved on February 16, 2017. ^ Marshall, pp. 408–409. ^ Zinn, Howard (2002. Emma: A Play in Two Acts about Emma Goldman, American Anarchist. South End Press. ISBN 0-89608-664-X. ^ Duberman, Martin (1991. Mother Earth: An Epic Drama of Emma Goldman's Life. St. Martin's Press. ISBN 0-312-05954-X. ^ Lynn Rogoff Archived January 5, 2008, at the Wayback Machine at The Playwrights Database ^ Wexler, Exile, p. 249. ^ Vincentelli, Elisabeth (August 21, 2018. Review: Besties With Rasputin in 'Red Emma and the Mad Monk. Retrieved August 28, 2018. ^ Mannin, Ethel (1941. Red Rose: A Novel Based on the Life of Emma Goldman ( Red Emma. Jarrolds... About Us Archived 2008-01-08 at the Wayback Machine. The Emma Goldman Clinic. 2007. Retrieved on December 15, 2007. ^ Red Emma's Bookstore Coffeehouse: Who is Red Emma. Red Emma's Bookstore Coffeehouse. Archived from the original on May 6, 2008. Retrieved February 24, 2008. ^ a b John Clark (May 14, 2007. Remembering Helen Hill: A New Orleans community comes together after the murder of a friend and activist. Divergences. ^ Anthony, David "Martha goes undercover in the video for “Goldmans Detective Agency”" The A. V. Club May 4, 2016 ^ Goldman, Emma (1932. Voltairine de Cleyre. Berkeley Heights, New Jersey: Oriole Press. OCLC 12414567. Archived from the original on March 28, 2015. Retrieved February 11, 2011. Sources Avrich, Paul. The Haymarket Tragedy. Princeton: Princeton University Press, 1984. ISBN 0-691-04711-1. Berkman, Alexander. Life of an Anarchist: The Alexander Berkman Reader. New York: Four Walls Eight Windows Press, 1992. ISBN 1-888363-17-7. Chalberg, John. Emma Goldman: American Individualist. New York: HarperCollins Publishers Inc., 1991. ISBN 0-673-52102-8. Drinnon, Richard. Rebel in Paradise: A Biography of Emma Goldman. Chicago: University of Chicago Press, 1961. OCLC 266217. Drinnon, Richard and Anna Maria, eds. Nowhere At Home: Letters from Exile of Emma Goldman and Alexander Berkman. New York: Schocken Books, 1975. OCLC 1055309. Falk, Candace, et al. Emma Goldman: A Documentary History Of The American Years, Volume 1 – Made for America, 1890–1901. ISBN 0-520-08670-8. Falk, Candace, et al. Emma Goldman: A Documentary History Of The American Years, Volume 2 – Making Speech Free, 1902–1909. ISBN 0-520-22569-4. Falk, Candace Serena. Love, Anarchy, and Emma Goldman. New Brunswick: Rutgers University Press, 1990. ISBN 0-8135-1512-2. Glassgold, Peter, ed. Anarchy! An Anthology of Emma Goldman's Mother Earth. Washington, D. C. Counterpoint, 2001. ISBN 1-58243-040-3. Goldman, Emma. Anarchism and Other Essays. 3rd ed. 1917. New York: Dover Publications Inc., 1969. ISBN 0-486-22484-8. Goldman, Emma. ISBN 0-486-22543-7. Goldman, Emma. My Disillusionment in Russia. 1923. New York: Thomas Y. Crowell Company, 1970. OCLC 76645. Goldman, Emma. Red Emma Speaks. ed. Alix Kates Shulman. ISBN 0-394-47095-8. Goldman, Emma. The Social Significance of Modern Drama. 1914. New York: Applause Theatre Book Publishers, 1987. ISBN 0-936839-61-9. Goldman, Emma. The Traffic in Women, and Other Essays on Feminism. Albion, CA: Times Change Press, 1970. ISBN 0-87810-001-6. Goldman, Emma. The Tragedy of Woman's Emancipation. New York: Mother Earth Publishing Association, 1906. OCLC 15865931 Goldman, Emma. Vision on Fire: Emma Goldman on the Spanish Revolution. David Porter. New Paltz, NY: Commonground Press, 1983. ISBN 0-9610348-2-3. Haaland, Bonnie. Emma Goldman: Sexuality and the Impurity of the State. Montréal, New York, London: Black Rose Books, 1993. ISBN 1-895431-64-6. Marsh, Margaret S. Anarchist Women 1870–1920. Philadelphia: Temple University Press, 1981. ISBN 0-87722-202-9. Marshall, Peter. Demanding the Impossible: A History of Anarchism. London: HarperCollins, 1992. ISBN 0-00-217855-9. McCormick, Charles H. Seeing Reds: Federal Surveillance of Radicals in the Pittsburgh Mill District, 1917–1921. Pittsburgh: University of Pittsburgh Press, 1997. Moritz, Theresa. The World's Most Dangerous Woman: A New Biography of Emma Goldman. Vancouver: Subway Books, 2001. ISBN 0-9681660-7-5. Murray, Robert K. Red Scare: A Study in National Hysteria, 1919–1920. Minneapolis: University of Minnesota Press, 1955. ISBN 0-313-22673-3 Post, Louis F. The Deportations Delirium of Nineteen-twenty: A Personal Narrative of an Historic Official Experience. NY, 1923. Solomon, Martha. Emma Goldman. Boston: Twayne Publishers, 1987. ISBN 0-8057-7494-7. Weiss, Penny A. and Loretta Kensinger, eds. Feminist Interpretations of Emma Goldman. University Park: Pennsylvania State University Press, 2007. ISBN 0-271-02976-5. Wexler, Alice. Emma Goldman: An Intimate Life. New York: Pantheon Books, 1984. ISBN 0-394-52975-8. Republished as Emma Goldman in America. Boston: Beacon Press, 1984. ISBN 0-8070-7003-3. Wexler, Alice. Emma Goldman in Exile: From the Russian Revolution to the Spanish Civil War. Boston: Beacon Press, 1989. ISBN 0-8070-7004-1. Further reading Avrich, Paul; Avrich, Karen (2012. Sasha and Emma: The Anarchist Odyssey of Alexander Berkman and Emma Goldman. Cambridge, Mass. Harvard University Press. ISBN 978-0-674-06598-7. External links Works by Emma Goldman at Project Gutenberg Works by or about Emma Goldman at Internet Archive Works by Emma Goldman at LibriVox (public domain audiobooks) Emma Goldman entry at the Anarchy Archives Emma Goldman Papers Project at University of California, Berkeley Works by Emma Goldman at the Anarchist Library Works of Emma Goldman, online Emma Goldman Papers at the International Institute of Social History Emma Goldman Papers. Schlesinger Library, Radcliffe Institute, Harvard University Emma Goldman Papers, 1909–1941. Rubenstein Library, Duke University Emma Goldman "Women of Valor" exhibit at the Jewish Women's Archive.
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Really liked it Average rating 4. 00 596, 432 ratings 15, 200 reviews, Start your review of Emma Loved it! Why don't I read more classics? I'll definitely need to read her other books. The BBC tv show was also adorable! This is a book about math, mirrors and crystal balls, and dont let anyone tell you otherwise. Village life? Sorta. The lives of the idle rich? I mean, sure, but only partially and incidentally. Romance? Barely. A morality tale of the Education of Young Lady? The young lady stands for and does many more important things than that. These things provide the base of the novel, the initial bolt of fabric, the first few lines of a drawing that set the limits of the author to writing about these... “I may have lost my heart, but not my self-control. ” Personally, I may have lost my self-control, but not my heart. My motivation to read this book stemmed from J. K. Rowling stating that this was one of her favourite books. A few years ago I read my first Jane Austen, which was Pride and Prejudice, and I really enjoyed it. I thought Emma couldn't be that bad, it's a popular classic and its rating is good. To be honest, it's not bad, exactly, but the fact that it took me one whole month to get... Austen paints a world of excess. Shes just so fucking brilliant. That much so I found the need to swear. The sarcasm is just oozing out of her words. She doesnt need to tell you her opinions of society: she shows them to you. Simply put, Emmas farther is a ridiculous prat. Theres no other word for it. He spends his day lounging around eating rich and expensive food and doesnt bother to exercise his body or mental faculties. The thought of visiting his recently departed governess, a... My interpretation of the first 60+ pages of Emma: Oh, my dear, you musn't think of falling for him. He's too crude and crass. Oh, my dear Emma, you are perfectly correct. I shan't give him another thought. Oh, my dear, that's good because I would have to knock you flat on your arse if you were considering someone of such low birth. Yawn. I tried, but life's too short. Plus, I like 'em crude and crass. Cross posted at This Insignificant Cinder My dear Jane Austen, I hope you dont mind that I write to you, expressing my gratitude for your brilliant handling of words. And as the post office is an object of interest and admiration in your novel “Emma”, I thought a letter would be the adequate way of communicating my thoughts. I must start by confessing that I dont like your heroine at all. Obviously, this sounds like a harsh judgment on a classic character like Emma Woodhouse, and I wouldnt have dared to be as honest with you as I am... Jane Austen famously wrote: I am going to take a heroine whom no one but myself will much like. My initial take: Truer words, Jane. Truer words. Emma is wealthy and beautiful, the queen bee of society in her town, and boss of her household (since her father is a hand-wringing worrywart, almost paralyzed by his fears. Shes prideful, self-satisfied and convinced she knows best, not just for herself but for pretty much everyone in her circle. When Emma decides shes got a gift for matchmaking... 936. Emma, Jane Austen Emma, by Jane Austen, is a novel about youthful hubris and the perils of misconstrued romance. The story takes place in the fictional village of High-bury and the surrounding estates of Hart-field, Randalls, and Donwell Abbey and involves the relationships among individuals in those locations consisting of "3 or 4 families in a country village. The novel was first published in December 1815 while the author was alive, with its title page listing a publication date of 1816... I must begin by stating that I may be utterly biased here. Emma is the novel that introduced me to the treasure that are Jane Austen's masterpieces. I read it when I was fourteen, and fell in love with it right there and then. People often tend to mention that Emma Woodhouse is the least likeable heroine Jane Austen has created. It may be so, since she is rather headstrong, spoiled and with a strong tendency to plan other people's lives, without giving a second thought to all possible... Emma woodhouse changes from being vain and self satisfied, blind to her own feelings and dangerously insensitive to the feelings of others, in a slow, painful progress towards maturity. Okay, when I first started the book and was reading how Emma was taking happiness away from Harriet Smith by telling her that Mr. Martin wasn't good enough for her - I didn't like Emma at all. Now I can understand how Emma only wanted to do good by Harriet and that was how it was back in those days. But, as Mr. Knightely pointed out, Harriet was not from some wealthy family and Emma was doing the wrong thing in trying to find her a great husband. Mr. Knightley went to the trouble to help Mr... 3. 5 stars rounded up because of the narration. I've noticed a lot of people hate Emma. She's spoiled by her circumstances and self-absorbed in a way that only someone who hasn't really known any sort of hardships can be. And I get why she isn't the heroine that anyone is really rooting for in a serious way. Because if the book had ended with Emma alone with her father, it wouldn't have really broken my heart. But here's the thing I found as I listened to this one: It wasn't really Emma that I... Emma, a young woman in Regency England lives with her rich, but eccentric widowed father Henry Woodhouse, in the rural village of Highbury, always concerned about his health (hypochondriac, in the extreme) and anybody else's, Mr. Woodhouse, constantly giving unwanted advise to his amused friends and relatives, they tolerate the kindly old man. Miss Woodhouse ( they're very formal, in those days) is very class conscious a bit of a snob ( but lovable) and will not be friends with people below... Oh my goodness, did I love. At one point, toward the end, when the thing that Austen was working toward happened, I literally fell down from the couch to the rug. Emma herself is a unique creation, a headstrong, misguided, self-confident girl who we can't help but love, because she is honest. The love complications are innumerable, the humor is excellent, and the writing is spectacular. Without the intensely crafted plot of Pride and Prejudice, say, Austen's sentences are left to carry the book... I can't do it! I can't finish it! I keep trying to get into Jane Austen's stuff and I just can't make it further than 150 pages or so. Everything seems so predictable and sooooo long-winded. I feel like she is the 19th century John Grisham. You know there's a good story line in there somewhere, and if you could edit out 60% of the words it would be fantastic. Sorry to all the Jane Austen fans-you inspired me to try one more time and I failed! Although using this trite doesn't mean that the fact is any less true, it is still at the risk of sounding cliché when I say that Jane Austen's classic, Emma, is like a breath of fresh air when juxtaposed to the miasmal novels in the publishing market today; especially for someone who has been on a YA binge of late. You see, the reason why I went for Emma as my first Austen read is because my mother has seen the latest movie adaptation, and she claims it to be her very favorite. Mind you, she... I'm beginning to put in more work in my hobby - my solitary one, reading - than I've put in my career. 400 pages of this stuff is the strong stuff. I have little to analyze here. That is because a lot of the things that can be construed, can be true of any book. Like Sam Harris said, even a cookbook, if improperly analyzed, can yield truths that can seem profoundly benevolent. If I say that the mixture of oil and aniseed symbolizes the purity of the cookbook, that's not conductive to a balanced... Of all of Austen's books - and I've read them all several times - I learn the most from Emma. I believe that one of Austen's goals in writing is to teach us to view the rude and ridiculous with amusement rather than disdain. And in Emma we have the clearest and most powerful picture of what happens when we don't do this: when Emma speaks out against Miss Bates. Though rude on Emma's part, we can't help but love her for her mistake and feel her shame because we've all been there. When I feel I... I hope not to raise any of my friends sensibilities when I tell you that although I liked Emma, I did not love it. Emma simply did not move me. "With insufferable vanity had she believed herself in the secret of everybody's feelings; with unpardonable arrogance proposed everybody's destiny. She was proved to have been universally mistaken. She had brought evil on Harriet, on herself, and she too much feared, on Mr. Knightley. I liked the hilarity of her well-meaning but misdirected attempts... Jane Austen seems to be a rather divisive figure as of late. You love her for her wit, her irony, her gentle but pointed depictions of manners and love. Or you hate her because she seems to be harking back to an age of prescribed gender roles and stultifying drawing room conversation. I am of the former camp. Emma may be one of her more divisive novels and the title character one of her more controversial creations. Or perhaps that should be – one of her more irritating creations. She exasperates... "With insufferable vanity had she believed herself in the secret of everybody's feelings; with unpardonable arrogance proposed everybody's destiny. Regarded as one of Jane Austen's most important works, Emma is a novel about a handsome, clever and rich young woman - Miss Woodhouse - who lives on the fictional estate of Hartfield, in the Surrey village of... This was the perfect book to reread during my Christmas break. I am a devoted fan of Jane Austen's work, but even so, I find "Emma" to be particularly charming and insightful. The story of the "handsome, clever and rich" Emma Woodhouse, who is determined to be a matchmaker among her friends but is constantly making blunders, is one that always makes me smile when I read it. I especially like the descriptions of Emma's neighbors and of Highbury. Indeed, the novel is so vivid I feel as if I could... It took me longer to read this than any other Austen novel. It's a lot denser than her usual effortless breezy brilliance and it's also more nuanced and a little darker. For the first time she creates a central female character who isn't likeable. Emma is smug, she's a snob and she's a classic control freak. She tends to disapprove of any coupling she herself hasn't helped bring about. She herself, devoted to her ailing and rather tiresome father, maintains she will never marry. The narrative... ‘ Seldom, very seldom, does complete truth belong to any human disclosure; seldom can it happen that something is not a little disguised or a little mistaken. Emma Woodhouse, the heroine and namesake of Jane Austens last novel to be published within her lifetime, spends her days of leisure playing matchmaker and offering the reader her keen eye for the character of the locals of Highbury. However, this keen eye may not be as accurate as she would wish it to be. Through her inaccurate impressions... Still not the full review, just a warm-up exercise. You could not shock her more than she shocks me; Beside her Joyce seems innocent as grass. It makes me most uncomfortable to see An English spinster of the middle class Describe the amorous effects of "brass. Reveal so frankly and with such sobriety The economic basis of society. W. H. Auden, Letter to Lord Byron (1936) While twelve readings of Pride and Prejudie give you twelve periods of pleasure repeated, as many readings of Emma give you... Second revived review to celebrate the 200th anniversary of the death of Jane Austen. Sorry Jane, this is rather a feeble review. The only thing I can remember about this beloved novel is that I read it on the bus to work. That's it. On the bus. Sorry. The three stars is because I like reading on buses. If you're into stuff like this, you can read the full review. Such a Beautiful Hindquarter of Pork: Emma" by Jane Austen I wonder if a variation on the Unreliable Narrator is permissible here? Jane Austens Emma, while narrated solely by the author herself, is told exclusively from the title characters point of view (chime in and correct me if there are scenes in which she doesnt take part, however minor) so that Austen becomes Emmas interpreter, and our interlocutor. Its a very deliberate... All these beautiful rereads I'm forced to do because of university are going to mess with my avg rating of this year, but I DON'T CARE. Sometimes I think I like Emma even better than I like Pride and Prejudice. It's so fresh, so sparkly, so linguistically nimble, I would deem it impossible if I hadn't read it twice, bought three copies of it, and watched the movie far too many times to count. “I cannot make speeches, Emma:” -he soon resumed; and in a tone of such sincere, decided, intelligible... Upon my word! After reading a couple of chapters of Emma I do declare—with all due respect—that Miss Emma Woodhouse is one silly cow. I have sought assurance from my dear friend—the very learned Mrs. Roberts from a nearby vicarage—regarding correct usage of the term “silly cow”, and she has given me her approbation with the greatest felicity. Yes, Emma Woodhouse is clueless, so much so that the wonderful 1995 movie Clueless is entirely based on her story. Emma likes to make matches, and I dont... I'm pretty impressed with this busybody know-it-all. As a character novel, the entire thing is extremely dense and interesting and oh-so-convoluted. As a plot novel, it's not so much of anything. Fortunately, I was in the mood for something that would lift individual silly characters from the realm of the opinionated and silly and and arrogant to the level of real humanity with eyes flying open. Honestly, Austen is great at this kind of zinger. It's all about the self-realizations and the...
2019, Emma Technologies LTD. All Rights Reserved. Emma is registered and incorporated in England and Wales. Emma is registered with the Financial Conduct Authority under the Payment Services Regulations 2017 for the provision of payment services. Emma uses 256-bit TLS encryption 100% of the time. Financial Conduct Authority Reg Nr: 794952. Data Protection Registration Number: ZA241546. Company Registration Number: 10578464. Emma daumas. Emma smetana notre dame. Emmanuel macron. Michael Jackson: On the Wall becomes one of EMMAs all-time visitor successes The Michael Jackson: On the Wall exhibition, which closed over the weekend, reached its goal of 80, 000 visitors, becoming one of EMMAs most popular exhibitions of all time. The exhibition saw a total of 88, 748 visitors and was on display from 21st Aug 2019 to 26th Jan 2020. Read more.
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From Wikipedia, the free encyclopedia Jump to navigation Jump to search Look up Emma or emma in Wiktionary, the free dictionary. Emma may refer to: Name [ edit] Emma (given name) Culture [ edit] Publications [ edit] Emma (novel) an 1815 novel by Jane Austen Emma Brown, a fragment of a novel by Charlotte Brontë, completed by Clare Boylan in 2003 Emma (Kenyon novel) a 1955 novel by F. W. Kenyon Emma: A Modern Retelling, a 2015 novel by Alexander McCall Smith Emma (manga) a 2002 manga by Kaoru Mori and the adapted Japanese animated series EMMA (magazine) a German feminist journal, published by Alice Schwarzer Film [ edit] Emma (1932 film) a comedy-drama film directed by Clarence Brown Emma (1996 theatrical film) a period comedy film based on Austen's novel starring Gwyneth Paltrow Emma (1996 TV film) a British television film based on Austen's novel starring Kate Beckinsale Emma (2020 film) a British drama film based on Austen's novel starring Anya Taylor-Joy Television [ edit] Emma (1972 TV serial) British TV serial from 1972, based on Austen's novel, with Doran Godwin as Emma Emma (anime) a Japanese television series subtitled "A Victorian Romance" broadcast in various Asian nations in 2005 and 2007 Emma (2009 TV serial) British TV serial from 2009, based on Austen's novel, with Romola Garai as Emma Music [ edit] E. M. A., a Swedish girl group (2001–2005) Songs [ edit] Emma" a song by Australian rock group Little River Band from their 1975 debut self titled album "Emma" a song by Alkaline Trio from their 2003 album Good Mourning "Emma" a song by Jonathan Edwards off his self-titled album "Emma" song) a 1974 song by Hot Chocolate Performers [ edit] Emma (Welsh singer) born 1974) a Welsh singer Emma Marrone (born 1984) an Italian singer often billed as "Emma" Other uses [ edit] Emma, a keytar instrument used by Lady Gaga on the Monster Ball Tour Emma-gaala, a Finnish music award Emma Frost, a Marvel comic book character Emma (play) a 1976 play by Howard Zinn about Emma Goldman Places [ edit] Emma, Indiana, a community in the United States Emma, Illinois Emma, Kentucky Emma, Louisiana Emma, Missouri, a town in the United States Emma, West Virginia Religion [ edit] Yama (Buddhism and Chinese mythology) Buddhist god of death, also known as Enma Saint Emma (disambiguation) name of several saints People [ edit] Emma (wrestler) born 1989) a ring name of the Australian wrestler Tenille Dashwood Royalty [ edit] Emma of Austrasia, daughter of Theudebert II and possibly wife of Eadbald of Kent Emma of Normandy (c. 985–1052) twice Queen consort of the Kingdom of England by marriage Emma of Waldeck and Pyrmont (1858–1934) Queen consort of William III of the Netherlands and Grand Duke of Luxembourg Queen Emma of Hawaii (1836–1885) queen to King Kamehameha IV from 1856 to his death in 1863 Transportation [ edit] Emma (ship) one of several ships of that name Emma Mærsk, first in the Maersk E-class 11, 000-TEU container ships HMS Queen Emma, a troopship of the Royal Navy during the Second World War USS Emma, several United States Navy ships Weather [ edit] Emma (storm) a European windstorm in March 2008 Tropical Storm Emma (disambiguation) several tropical cyclones in the northwest Pacific Ocean, southwest Indian Ocean and southwest Pacific Ocean 283 Emma, a main belt asteroid in the Solar System EMMA (code coverage tool) a Java code coverage tool Ethnic Multicultural Media Academy, an organization that raises awareness of discrimination EMMA (accelerator) the "Electron Machine with Many Applications" EMMA, an abbreviation for the Espoo Museum of Modern Art in Finland Emma, a nickname for the Soviet Degtyaryov machine gun of 1928 Emmanuel College, Cambridge, affectionately called Emma, is a constituent college of Cambridge University Experiment with MultiMuon Array (EMMA) Electronic Municipal Market Access system (EMMA) an on-line source for municipal securities information See also [ edit] All pages with titles beginning with Emma All pages with titles containing Emma.
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genres - Musical It seems to the Teens that all the major superheroes out there are starring in their own movies-everyone but the Teen Titans, that is. But de facto leader Robin is determined to remedy the situation, and be seen as a star instead of a sidekick. If only they could get the hottest Hollywood film director to notice them. With a few madcap ideas and a song in their heart, the Teen Titans head to Tinsel Town, certain to pull off their dream. But when the group is radically misdirected by a seriously super villain and his maniacal plan to take over the Earth, things really go awry. The team finds their friendship and their fighting spirit failing, putting the very fate of the Teen Titans themselves on the line user Ratings - 7,6 of 10 Stars.
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Uncut gems trailer music. Uncut gens de lettres. Whos here right after Kobes death🥺. This movie was fantastic I just saw it in theaters. I feel bad for Adam Sandler this is a career defining performance for him but he is going to have a tough time winning a best actor oscar in the same category as Joaquin Phoenix as Joker and Adam Driver in Marriage Story. Sandler got snubbed at the Golden Globes with no nomination. This movie is like the polar opposite of Matthew McConaugheys Dallas Buyers Club but in a good way. Sandler gained weight like pure fat for his role as a middle age Jewish Jeweler who is also a gambling addict. There is even a scene with a bathroom scale where he clearly informs the audience of it. The whole movie is filmed like one long panic attack episode with the dialogue and audio I was paying attention the entire time. Amazing.
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