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Our Mothers' War

2017-10-18T03:38:48Z

Kwirtz1:

{{Infobox book
| name = Our Mothers' War
| image =[[File:Ourmothers.jpeg|200px|alt=Cover]]
| image_caption =
| author = Emily Yellin
| translator =
| country = United States
| language = English
| series =
| publisher = Free Press
| pub_date = 2004
| pages = 447
| isbn = 0-7432-4516-4.
| oclc =
| congress =
}}

==Book Summary==
Emily Yellin’s book examines the role of women in shaping life at home and abroad during World War II. Yellin draws from personal accounts, historic documentation, and traditional interpretations on World War II history. She traditionally comes from a journalism background, and she remains acutely aware that her interpretation is non-conventional. Inspiration came from reading wartime letters from her mother. As a common trend, the epic love story and whirlwind romances, followed by a surge of women into the work force inspired by a buxom beauty in a blue jumpsuit with a red bandana, are the key markers of women’s experience with the war, and Yellin doesn’t digress far from this narrative, but she does add some additional color with her extensive use of personal accounts from numerous women, in conjunction with her compelling style. In her epilogue, she essentially trivializes here entire work by outright declaring that she should “never claim that women’s part during the war was as significant as their’s [the men’s].” However, she does note the fact the women’s contributions tend to be an “afterthought,” and notes her desire (377).

As an underlying theme, Yellin does discuss the topic of discrimination throughout the period. She brushes on racial discrimination in the work force. Some of the women’s experiences covered in the text involve women being told that they did not have to work with African American women (55). She additionally dedicates time to “Jane Crow” and the discrimination against Japanese American Women. Initially, African American women gained the last admittance to certain avenues of the new employment. Early in the war, African American women were not even allowed to be nurses, until the military came under fire from the NAACP and the NACGN. Initial admittance to the nurse corps, African American women were only allowed to provide practice for African American men. However, much like the front line at home, discriminatory practices had to be abandoned by 1944 as resources ran thin (212-224).

“Be wary of war time romance” (5). War lead to hasty marriages, but despite warnings, many romances ensued. Thus, “self-help” and marital advice books were published to help both the new brides and those at home with children, including So Your Husband’s Gone to War which prepared women for the hardships they were going to endure without their husbands. One interesting aspect Yellin covers are the “Camp Followers,” women who of course followed their men abroad, but this act was deemed selfish and frowned upon because it wasted valuable resources (19). Instead, it was promoted for women to contribute at home. World War II expanded, and arguably redefined, the notion of the “homemaker” beyond as Yellin notes “contrived, one-dimensional woman, like Betty Crocker” (36). As commonly known, women’s roles both inside and outside the home, and women were encouraged to find ways to contribute to the war without following the men around.

The popular advertising slogan “Soldiers without guns” was used to compel women into the workforce (39). Despite the obvious need for workers with so many men overseas, female workers were not the initial answer to the problem. Initially, the push for women to enter the workforce began in the 1930s, but many still opposed hiring African Americans and women. In 1942, the luxury of prejudice was no longer an option in the workforce. The single most memorable figure of women entering the workforce emerged in 1943—Rosie the Riveter—in a song. She served to recruit the single women to joing the work force. However, eventually, housewives were also needed in the workforce, which was an even more scandalous proposition. Once it became more common, women worked throughout the first seven months of pregnancy even.

Prior to the war 11 million women were in the workforce, and 6 million joined during the war which lead to 50% of America’s women being employed. Despite the inspiring tenor, it was very well understood and enforced that the independence was temporary. However, the independence gained through money was very appealing, and women sought to gain money for various ends from it—support families, buy new supplies for their babies, and achieve professional goals, like Barbara Walls who used riveting as a means to gain an English degree from NYU. Additionally, Yellin notes the story of Norma Jean Dougherty joining the workforce, and then transitioning into modeling after a factory photo shoot (56-57). She does not limit the discussion to simply the home front; she dedicates the second portion of her book to women who served in positions within the military with equal treatment given to enlisted officers, WAACS, WAVES, SPARS, Marines, WASPS, and nurses.

Beyond covering women’s personal experiences, Yellin also covers the fiction and iconography used as motivation and escapism during the War. She discusses starlets like Marilyn Monroe, Hedy Lamarr, Lana Turner, and Dottie Lamour. She quotes Betty Grable saying “A lot of guys don’t have any girl friends to fight for. I guess you could call us pinup girls a kind of an inspiration” (74). She additionally covers the push toward successful “all girl groups” and the revolutionary push of women performers and music players, not just strippers and burlesque dancers, pushing far beyond “just a pin up” (95). Then, the entertainment reflected the cultural push for women to join the work force and strong women individuals. In particular, Yellin uses the example of Mrs. Miniver and Wonder Woman. However, the WAACS had their own brand of entertainment/pinup in “Cary Grant, Clark Gable, Tyronne Power, and General MacArthur” (129).
Overall, Yellin presents a fascinating and compelling discussion and holistically discusses the female experience during World War II. At times, her writing style can be contrived and pandering to a very specific demographic (appealing to the pro-masculine, pro militant). Some of her most interesting morsels of history tend to be imbedded or pushed to latter parts of her discussion, and these portions could serve as interesting discussions in their own rights.

==Book's Table of Contents==

'''Part I'''

Bring him home safely '''3'''

Soldiers without guns '''37'''

Putting up a good front '''73'''

'''Part II'''

This man’s army '''109'''

On duty at home '''135'''

Save his life and find your own '''165'''

Jane Crow '''199'''

Behind enemy lines '''225'''

Question of loyalty '''253'''

Qualified sucesses '''279'''

'''Part III'''

The wrong kind of woman '''305'''

A war within the war '''329'''

Inside the secret city '''353'''

Their legacy (epilogue) '''377'''

Our Mothers' War

2017-10-18T03:37:28Z

Kwirtz1: /* Book's Table of Contents */

{{Infobox book
| name = Our Mothers' War
| image =[[File:Ourmothers.jpeg|200px|alt=Cover]]
| image_caption =
| author = Emily Yellin
| translator =
| country = United States
| language = English
| series =
| publisher = Free Press
| pub_date = 2004
| pages = 447
| isbn = 0-7432-4516-4.
| oclc =
| congress =
}}

Emily Yellin’s book examines the role of women in shaping life at home and abroad during World War II. Yellin draws from personal accounts, historic documentation, and traditional interpretations on World War II history. She traditionally comes from a journalism background, and she remains acutely aware that her interpretation is non-conventional. Inspiration came from reading wartime letters from her mother. As a common trend, the epic love story and whirlwind romances, followed by a surge of women into the work force inspired by a buxom beauty in a blue jumpsuit with a red bandana, are the key markers of women’s experience with the war, and Yellin doesn’t digress far from this narrative, but she does add some additional color with her extensive use of personal accounts from numerous women, in conjunction with her compelling style. In her epilogue, she essentially trivializes here entire work by outright declaring that she should “never claim that women’s part during the war was as significant as their’s [the men’s].” However, she does note the fact the women’s contributions tend to be an “afterthought,” and notes her desire (377).

As an underlying theme, Yellin does discuss the topic of discrimination throughout the period. She brushes on racial discrimination in the work force. Some of the women’s experiences covered in the text involve women being told that they did not have to work with African American women (55). She additionally dedicates time to “Jane Crow” and the discrimination against Japanese American Women. Initially, African American women gained the last admittance to certain avenues of the new employment. Early in the war, African American women were not even allowed to be nurses, until the military came under fire from the NAACP and the NACGN. Initial admittance to the nurse corps, African American women were only allowed to provide practice for African American men. However, much like the front line at home, discriminatory practices had to be abandoned by 1944 as resources ran thin (212-224).

“Be wary of war time romance” (5). War lead to hasty marriages, but despite warnings, many romances ensued. Thus, “self-help” and marital advice books were published to help both the new brides and those at home with children, including So Your Husband’s Gone to War which prepared women for the hardships they were going to endure without their husbands. One interesting aspect Yellin covers are the “Camp Followers,” women who of course followed their men abroad, but this act was deemed selfish and frowned upon because it wasted valuable resources (19). Instead, it was promoted for women to contribute at home. World War II expanded, and arguably redefined, the notion of the “homemaker” beyond as Yellin notes “contrived, one-dimensional woman, like Betty Crocker” (36). As commonly known, women’s roles both inside and outside the home, and women were encouraged to find ways to contribute to the war without following the men around.

The popular advertising slogan “Soldiers without guns” was used to compel women into the workforce (39). Despite the obvious need for workers with so many men overseas, female workers were not the initial answer to the problem. Initially, the push for women to enter the workforce began in the 1930s, but many still opposed hiring African Americans and women. In 1942, the luxury of prejudice was no longer an option in the workforce. The single most memorable figure of women entering the workforce emerged in 1943—Rosie the Riveter—in a song. She served to recruit the single women to joing the work force. However, eventually, housewives were also needed in the workforce, which was an even more scandalous proposition. Once it became more common, women worked throughout the first seven months of pregnancy even.

Prior to the war 11 million women were in the workforce, and 6 million joined during the war which lead to 50% of America’s women being employed. Despite the inspiring tenor, it was very well understood and enforced that the independence was temporary. However, the independence gained through money was very appealing, and women sought to gain money for various ends from it—support families, buy new supplies for their babies, and achieve professional goals, like Barbara Walls who used riveting as a means to gain an English degree from NYU. Additionally, Yellin notes the story of Norma Jean Dougherty joining the workforce, and then transitioning into modeling after a factory photo shoot (56-57). She does not limit the discussion to simply the home front; she dedicates the second portion of her book to women who served in positions within the military with equal treatment given to enlisted officers, WAACS, WAVES, SPARS, Marines, WASPS, and nurses.

Beyond covering women’s personal experiences, Yellin also covers the fiction and iconography used as motivation and escapism during the War. She discusses starlets like Marilyn Monroe, Hedy Lamarr, Lana Turner, and Dottie Lamour. She quotes Betty Grable saying “A lot of guys don’t have any girl friends to fight for. I guess you could call us pinup girls a kind of an inspiration” (74). She additionally covers the push toward successful “all girl groups” and the revolutionary push of women performers and music players, not just strippers and burlesque dancers, pushing far beyond “just a pin up” (95). Then, the entertainment reflected the cultural push for women to join the work force and strong women individuals. In particular, Yellin uses the example of Mrs. Miniver and Wonder Woman. However, the WAACS had their own brand of entertainment/pinup in “Cary Grant, Clark Gable, Tyronne Power, and General MacArthur” (129).
Overall, Yellin presents a fascinating and compelling discussion and holistically discusses the female experience during World War II. At times, her writing style can be contrived and pandering to a very specific demographic (appealing to the pro-masculine, pro militant). Some of her most interesting morsels of history tend to be imbedded or pushed to latter parts of her discussion, and these portions could serve as interesting discussions in their own rights.

==Book's Table of Contents==

'''Part I'''

Bring him home safely '''3'''

Soldiers without guns '''37'''

Putting up a good front '''73'''

'''Part II'''

This man’s army '''109'''

On duty at home '''135'''

Save his life and find your own '''165'''

Jane Crow '''199'''

Behind enemy lines '''225'''

Question of loyalty '''253'''

Qualified sucesses '''279'''

'''Part III'''

The wrong kind of woman '''305'''

A war within the war '''329'''

Inside the secret city '''353'''

Their legacy (epilogue) '''377'''

Our Mothers' War

2017-10-18T03:34:57Z

Kwirtz1: /* Book's Table of Contents */

{{Infobox book
| name = Our Mothers' War
| image =[[File:Ourmothers.jpeg|200px|alt=Cover]]
| image_caption =
| author = Emily Yellin
| translator =
| country = United States
| language = English
| series =
| publisher = Free Press
| pub_date = 2004
| pages = 447
| isbn = 0-7432-4516-4.
| oclc =
| congress =
}}

Emily Yellin’s book examines the role of women in shaping life at home and abroad during World War II. Yellin draws from personal accounts, historic documentation, and traditional interpretations on World War II history. She traditionally comes from a journalism background, and she remains acutely aware that her interpretation is non-conventional. Inspiration came from reading wartime letters from her mother. As a common trend, the epic love story and whirlwind romances, followed by a surge of women into the work force inspired by a buxom beauty in a blue jumpsuit with a red bandana, are the key markers of women’s experience with the war, and Yellin doesn’t digress far from this narrative, but she does add some additional color with her extensive use of personal accounts from numerous women, in conjunction with her compelling style. In her epilogue, she essentially trivializes here entire work by outright declaring that she should “never claim that women’s part during the war was as significant as their’s [the men’s].” However, she does note the fact the women’s contributions tend to be an “afterthought,” and notes her desire (377).

As an underlying theme, Yellin does discuss the topic of discrimination throughout the period. She brushes on racial discrimination in the work force. Some of the women’s experiences covered in the text involve women being told that they did not have to work with African American women (55). She additionally dedicates time to “Jane Crow” and the discrimination against Japanese American Women. Initially, African American women gained the last admittance to certain avenues of the new employment. Early in the war, African American women were not even allowed to be nurses, until the military came under fire from the NAACP and the NACGN. Initial admittance to the nurse corps, African American women were only allowed to provide practice for African American men. However, much like the front line at home, discriminatory practices had to be abandoned by 1944 as resources ran thin (212-224).

“Be wary of war time romance” (5). War lead to hasty marriages, but despite warnings, many romances ensued. Thus, “self-help” and marital advice books were published to help both the new brides and those at home with children, including So Your Husband’s Gone to War which prepared women for the hardships they were going to endure without their husbands. One interesting aspect Yellin covers are the “Camp Followers,” women who of course followed their men abroad, but this act was deemed selfish and frowned upon because it wasted valuable resources (19). Instead, it was promoted for women to contribute at home. World War II expanded, and arguably redefined, the notion of the “homemaker” beyond as Yellin notes “contrived, one-dimensional woman, like Betty Crocker” (36). As commonly known, women’s roles both inside and outside the home, and women were encouraged to find ways to contribute to the war without following the men around.

The popular advertising slogan “Soldiers without guns” was used to compel women into the workforce (39). Despite the obvious need for workers with so many men overseas, female workers were not the initial answer to the problem. Initially, the push for women to enter the workforce began in the 1930s, but many still opposed hiring African Americans and women. In 1942, the luxury of prejudice was no longer an option in the workforce. The single most memorable figure of women entering the workforce emerged in 1943—Rosie the Riveter—in a song. She served to recruit the single women to joing the work force. However, eventually, housewives were also needed in the workforce, which was an even more scandalous proposition. Once it became more common, women worked throughout the first seven months of pregnancy even.

Prior to the war 11 million women were in the workforce, and 6 million joined during the war which lead to 50% of America’s women being employed. Despite the inspiring tenor, it was very well understood and enforced that the independence was temporary. However, the independence gained through money was very appealing, and women sought to gain money for various ends from it—support families, buy new supplies for their babies, and achieve professional goals, like Barbara Walls who used riveting as a means to gain an English degree from NYU. Additionally, Yellin notes the story of Norma Jean Dougherty joining the workforce, and then transitioning into modeling after a factory photo shoot (56-57). She does not limit the discussion to simply the home front; she dedicates the second portion of her book to women who served in positions within the military with equal treatment given to enlisted officers, WAACS, WAVES, SPARS, Marines, WASPS, and nurses.

Beyond covering women’s personal experiences, Yellin also covers the fiction and iconography used as motivation and escapism during the War. She discusses starlets like Marilyn Monroe, Hedy Lamarr, Lana Turner, and Dottie Lamour. She quotes Betty Grable saying “A lot of guys don’t have any girl friends to fight for. I guess you could call us pinup girls a kind of an inspiration” (74). She additionally covers the push toward successful “all girl groups” and the revolutionary push of women performers and music players, not just strippers and burlesque dancers, pushing far beyond “just a pin up” (95). Then, the entertainment reflected the cultural push for women to join the work force and strong women individuals. In particular, Yellin uses the example of Mrs. Miniver and Wonder Woman. However, the WAACS had their own brand of entertainment/pinup in “Cary Grant, Clark Gable, Tyronne Power, and General MacArthur” (129).
Overall, Yellin presents a fascinating and compelling discussion and holistically discusses the female experience during World War II. At times, her writing style can be contrived and pandering to a very specific demographic (appealing to the pro-masculine, pro militant). Some of her most interesting morsels of history tend to be imbedded or pushed to latter parts of her discussion, and these portions could serve as interesting discussions in their own rights.

==Book's Table of Contents==

'''Part I'''

Bring him home safely 3

Soldiers without guns 37

Putting up a good front 73

'''Part II'''

This man’s army 109

On duty at home 135

Save his life and find your own 165

Jane Crow 199

Behind enemy lines 225

Question of loyalty 253

Qualified sucesses 279

'''Part III'''

The wrong kind of woman 305

A war within the war 329

Inside the secret city 353

Their legacy (epilogue) 377

Our Mothers' War

2017-10-18T03:33:53Z

Kwirtz1: /* Book's Table of Contents */

{{Infobox book
| name = Our Mothers' War
| image =[[File:Ourmothers.jpeg|200px|alt=Cover]]
| image_caption =
| author = Emily Yellin
| translator =
| country = United States
| language = English
| series =
| publisher = Free Press
| pub_date = 2004
| pages = 447
| isbn = 0-7432-4516-4.
| oclc =
| congress =
}}

Emily Yellin’s book examines the role of women in shaping life at home and abroad during World War II. Yellin draws from personal accounts, historic documentation, and traditional interpretations on World War II history. She traditionally comes from a journalism background, and she remains acutely aware that her interpretation is non-conventional. Inspiration came from reading wartime letters from her mother. As a common trend, the epic love story and whirlwind romances, followed by a surge of women into the work force inspired by a buxom beauty in a blue jumpsuit with a red bandana, are the key markers of women’s experience with the war, and Yellin doesn’t digress far from this narrative, but she does add some additional color with her extensive use of personal accounts from numerous women, in conjunction with her compelling style. In her epilogue, she essentially trivializes here entire work by outright declaring that she should “never claim that women’s part during the war was as significant as their’s [the men’s].” However, she does note the fact the women’s contributions tend to be an “afterthought,” and notes her desire (377).

As an underlying theme, Yellin does discuss the topic of discrimination throughout the period. She brushes on racial discrimination in the work force. Some of the women’s experiences covered in the text involve women being told that they did not have to work with African American women (55). She additionally dedicates time to “Jane Crow” and the discrimination against Japanese American Women. Initially, African American women gained the last admittance to certain avenues of the new employment. Early in the war, African American women were not even allowed to be nurses, until the military came under fire from the NAACP and the NACGN. Initial admittance to the nurse corps, African American women were only allowed to provide practice for African American men. However, much like the front line at home, discriminatory practices had to be abandoned by 1944 as resources ran thin (212-224).

“Be wary of war time romance” (5). War lead to hasty marriages, but despite warnings, many romances ensued. Thus, “self-help” and marital advice books were published to help both the new brides and those at home with children, including So Your Husband’s Gone to War which prepared women for the hardships they were going to endure without their husbands. One interesting aspect Yellin covers are the “Camp Followers,” women who of course followed their men abroad, but this act was deemed selfish and frowned upon because it wasted valuable resources (19). Instead, it was promoted for women to contribute at home. World War II expanded, and arguably redefined, the notion of the “homemaker” beyond as Yellin notes “contrived, one-dimensional woman, like Betty Crocker” (36). As commonly known, women’s roles both inside and outside the home, and women were encouraged to find ways to contribute to the war without following the men around.

The popular advertising slogan “Soldiers without guns” was used to compel women into the workforce (39). Despite the obvious need for workers with so many men overseas, female workers were not the initial answer to the problem. Initially, the push for women to enter the workforce began in the 1930s, but many still opposed hiring African Americans and women. In 1942, the luxury of prejudice was no longer an option in the workforce. The single most memorable figure of women entering the workforce emerged in 1943—Rosie the Riveter—in a song. She served to recruit the single women to joing the work force. However, eventually, housewives were also needed in the workforce, which was an even more scandalous proposition. Once it became more common, women worked throughout the first seven months of pregnancy even.

Prior to the war 11 million women were in the workforce, and 6 million joined during the war which lead to 50% of America’s women being employed. Despite the inspiring tenor, it was very well understood and enforced that the independence was temporary. However, the independence gained through money was very appealing, and women sought to gain money for various ends from it—support families, buy new supplies for their babies, and achieve professional goals, like Barbara Walls who used riveting as a means to gain an English degree from NYU. Additionally, Yellin notes the story of Norma Jean Dougherty joining the workforce, and then transitioning into modeling after a factory photo shoot (56-57). She does not limit the discussion to simply the home front; she dedicates the second portion of her book to women who served in positions within the military with equal treatment given to enlisted officers, WAACS, WAVES, SPARS, Marines, WASPS, and nurses.

Beyond covering women’s personal experiences, Yellin also covers the fiction and iconography used as motivation and escapism during the War. She discusses starlets like Marilyn Monroe, Hedy Lamarr, Lana Turner, and Dottie Lamour. She quotes Betty Grable saying “A lot of guys don’t have any girl friends to fight for. I guess you could call us pinup girls a kind of an inspiration” (74). She additionally covers the push toward successful “all girl groups” and the revolutionary push of women performers and music players, not just strippers and burlesque dancers, pushing far beyond “just a pin up” (95). Then, the entertainment reflected the cultural push for women to join the work force and strong women individuals. In particular, Yellin uses the example of Mrs. Miniver and Wonder Woman. However, the WAACS had their own brand of entertainment/pinup in “Cary Grant, Clark Gable, Tyronne Power, and General MacArthur” (129).
Overall, Yellin presents a fascinating and compelling discussion and holistically discusses the female experience during World War II. At times, her writing style can be contrived and pandering to a very specific demographic (appealing to the pro-masculine, pro militant). Some of her most interesting morsels of history tend to be imbedded or pushed to latter parts of her discussion, and these portions could serve as interesting discussions in their own rights.

==Book's Table of Contents==

'''Part I'''

Bring him home safely 3
Soldiers without guns 37
Putting up a good front 73

'''Part II'''

This man’s army 109
On duty at home 135
Save his life and find your own 165
Jane Crow 199
Behind enemy lines 225
Question of loyalty 253
Qualified sucesses 279

'''Part III'''

The wrong kind of woman 305
A war within the war 329
Inside the secret city 353
Their legacy (epilogue) 377

Our Mothers' War

2017-10-18T03:33:06Z

Kwirtz1:

{{Infobox book
| name = Our Mothers' War
| image =[[File:Ourmothers.jpeg|200px|alt=Cover]]
| image_caption =
| author = Emily Yellin
| translator =
| country = United States
| language = English
| series =
| publisher = Free Press
| pub_date = 2004
| pages = 447
| isbn = 0-7432-4516-4.
| oclc =
| congress =
}}

Emily Yellin’s book examines the role of women in shaping life at home and abroad during World War II. Yellin draws from personal accounts, historic documentation, and traditional interpretations on World War II history. She traditionally comes from a journalism background, and she remains acutely aware that her interpretation is non-conventional. Inspiration came from reading wartime letters from her mother. As a common trend, the epic love story and whirlwind romances, followed by a surge of women into the work force inspired by a buxom beauty in a blue jumpsuit with a red bandana, are the key markers of women’s experience with the war, and Yellin doesn’t digress far from this narrative, but she does add some additional color with her extensive use of personal accounts from numerous women, in conjunction with her compelling style. In her epilogue, she essentially trivializes here entire work by outright declaring that she should “never claim that women’s part during the war was as significant as their’s [the men’s].” However, she does note the fact the women’s contributions tend to be an “afterthought,” and notes her desire (377).

As an underlying theme, Yellin does discuss the topic of discrimination throughout the period. She brushes on racial discrimination in the work force. Some of the women’s experiences covered in the text involve women being told that they did not have to work with African American women (55). She additionally dedicates time to “Jane Crow” and the discrimination against Japanese American Women. Initially, African American women gained the last admittance to certain avenues of the new employment. Early in the war, African American women were not even allowed to be nurses, until the military came under fire from the NAACP and the NACGN. Initial admittance to the nurse corps, African American women were only allowed to provide practice for African American men. However, much like the front line at home, discriminatory practices had to be abandoned by 1944 as resources ran thin (212-224).

“Be wary of war time romance” (5). War lead to hasty marriages, but despite warnings, many romances ensued. Thus, “self-help” and marital advice books were published to help both the new brides and those at home with children, including So Your Husband’s Gone to War which prepared women for the hardships they were going to endure without their husbands. One interesting aspect Yellin covers are the “Camp Followers,” women who of course followed their men abroad, but this act was deemed selfish and frowned upon because it wasted valuable resources (19). Instead, it was promoted for women to contribute at home. World War II expanded, and arguably redefined, the notion of the “homemaker” beyond as Yellin notes “contrived, one-dimensional woman, like Betty Crocker” (36). As commonly known, women’s roles both inside and outside the home, and women were encouraged to find ways to contribute to the war without following the men around.

The popular advertising slogan “Soldiers without guns” was used to compel women into the workforce (39). Despite the obvious need for workers with so many men overseas, female workers were not the initial answer to the problem. Initially, the push for women to enter the workforce began in the 1930s, but many still opposed hiring African Americans and women. In 1942, the luxury of prejudice was no longer an option in the workforce. The single most memorable figure of women entering the workforce emerged in 1943—Rosie the Riveter—in a song. She served to recruit the single women to joing the work force. However, eventually, housewives were also needed in the workforce, which was an even more scandalous proposition. Once it became more common, women worked throughout the first seven months of pregnancy even.

Prior to the war 11 million women were in the workforce, and 6 million joined during the war which lead to 50% of America’s women being employed. Despite the inspiring tenor, it was very well understood and enforced that the independence was temporary. However, the independence gained through money was very appealing, and women sought to gain money for various ends from it—support families, buy new supplies for their babies, and achieve professional goals, like Barbara Walls who used riveting as a means to gain an English degree from NYU. Additionally, Yellin notes the story of Norma Jean Dougherty joining the workforce, and then transitioning into modeling after a factory photo shoot (56-57). She does not limit the discussion to simply the home front; she dedicates the second portion of her book to women who served in positions within the military with equal treatment given to enlisted officers, WAACS, WAVES, SPARS, Marines, WASPS, and nurses.

Beyond covering women’s personal experiences, Yellin also covers the fiction and iconography used as motivation and escapism during the War. She discusses starlets like Marilyn Monroe, Hedy Lamarr, Lana Turner, and Dottie Lamour. She quotes Betty Grable saying “A lot of guys don’t have any girl friends to fight for. I guess you could call us pinup girls a kind of an inspiration” (74). She additionally covers the push toward successful “all girl groups” and the revolutionary push of women performers and music players, not just strippers and burlesque dancers, pushing far beyond “just a pin up” (95). Then, the entertainment reflected the cultural push for women to join the work force and strong women individuals. In particular, Yellin uses the example of Mrs. Miniver and Wonder Woman. However, the WAACS had their own brand of entertainment/pinup in “Cary Grant, Clark Gable, Tyronne Power, and General MacArthur” (129).
Overall, Yellin presents a fascinating and compelling discussion and holistically discusses the female experience during World War II. At times, her writing style can be contrived and pandering to a very specific demographic (appealing to the pro-masculine, pro militant). Some of her most interesting morsels of history tend to be imbedded or pushed to latter parts of her discussion, and these portions could serve as interesting discussions in their own rights.

==Book's Table of Contents==

Part I

Bring him home safely 3
Soldiers without guns 37
Putting up a good front 73

Part II

This man’s army 109
On duty at home 135
Save his life and find your own 165
Jane Crow 199
Behind enemy lines 225
Question of loyalty 253
Qualified sucesses 279

Part III

The wrong kind of woman 305
A war within the war 329
Inside the secret city 353
Their legacy (epilogue) 377

Gender Studies

2017-10-18T03:21:18Z

Kwirtz1:

==Book Summaries==
*Yellin, Emily [[Our Mothers' War]] (2004).

Our Mothers' War

2017-10-18T03:15:42Z

Kwirtz1:

{{Infobox book
| name = Our Mothers' War
| image =[[File:Ourmothers.jpeg|200px|alt=Cover]]
| image_caption =
| author = Emily Yellin
| translator =
| country = United States
| language = English
| series =
| publisher = Free Press
| pub_date = 2004
| pages = 447
| isbn = 0-7432-4516-4.
| oclc =
| congress =
}}

Emily Yellin’s book examines the role of women in shaping life at home and abroad during World War II. Yellin draws from personal accounts, historic documentation, and traditional interpretations on World War II history. She traditionally comes from a journalism background, and she remains acutely aware that her interpretation is non-conventional. Inspiration came from reading wartime letters from her mother. As a common trend, the epic love story and whirlwind romances, followed by a surge of women into the work force inspired by a buxom beauty in a blue jumpsuit with a red bandana, are the key markers of women’s experience with the war, and Yellin doesn’t digress far from this narrative, but she does add some additional color with her extensive use of personal accounts from numerous women, in conjunction with her compelling style. In her epilogue, she essentially trivializes here entire work by outright declaring that she should “never claim that women’s part during the war was as significant as their’s [the men’s].” However, she does note the fact the women’s contributions tend to be an “afterthought,” and notes her desire (377).

As an underlying theme, Yellin does discuss the topic of discrimination throughout the period. She brushes on racial discrimination in the work force. Some of the women’s experiences covered in the text involve women being told that they did not have to work with African American women (55). She additionally dedicates time to “Jane Crow” and the discrimination against Japanese American Women. Initially, African American women gained the last admittance to certain avenues of the new employment. Early in the war, African American women were not even allowed to be nurses, until the military came under fire from the NAACP and the NACGN. Initial admittance to the nurse corps, African American women were only allowed to provide practice for African American men. However, much like the front line at home, discriminatory practices had to be abandoned by 1944 as resources ran thin (212-224).

“Be wary of war time romance” (5). War lead to hasty marriages, but despite warnings, many romances ensued. Thus, “self-help” and marital advice books were published to help both the new brides and those at home with children, including So Your Husband’s Gone to War which prepared women for the hardships they were going to endure without their husbands. One interesting aspect Yellin covers are the “Camp Followers,” women who of course followed their men abroad, but this act was deemed selfish and frowned upon because it wasted valuable resources (19). Instead, it was promoted for women to contribute at home. World War II expanded, and arguably redefined, the notion of the “homemaker” beyond as Yellin notes “contrived, one-dimensional woman, like Betty Crocker” (36). As commonly known, women’s roles both inside and outside the home, and women were encouraged to find ways to contribute to the war without following the men around.

The popular advertising slogan “Soldiers without guns” was used to compel women into the workforce (39). Despite the obvious need for workers with so many men overseas, female workers were not the initial answer to the problem. Initially, the push for women to enter the workforce began in the 1930s, but many still opposed hiring African Americans and women. In 1942, the luxury of prejudice was no longer an option in the workforce. The single most memorable figure of women entering the workforce emerged in 1943—Rosie the Riveter—in a song. She served to recruit the single women to joing the work force. However, eventually, housewives were also needed in the workforce, which was an even more scandalous proposition. Once it became more common, women worked throughout the first seven months of pregnancy even.

Prior to the war 11 million women were in the workforce, and 6 million joined during the war which lead to 50% of America’s women being employed. Despite the inspiring tenor, it was very well understood and enforced that the independence was temporary. However, the independence gained through money was very appealing, and women sought to gain money for various ends from it—support families, buy new supplies for their babies, and achieve professional goals, like Barbara Walls who used riveting as a means to gain an English degree from NYU. Additionally, Yellin notes the story of Norma Jean Dougherty joining the workforce, and then transitioning into modeling after a factory photo shoot (56-57). She does not limit the discussion to simply the home front; she dedicates the second portion of her book to women who served in positions within the military with equal treatment given to enlisted officers, WAACS, WAVES, SPARS, Marines, WASPS, and nurses.

Beyond covering women’s personal experiences, Yellin also covers the fiction and iconography used as motivation and escapism during the War. She discusses starlets like Marilyn Monroe, Hedy Lamarr, Lana Turner, and Dottie Lamour. She quotes Betty Grable saying “A lot of guys don’t have any girl friends to fight for. I guess you could call us pinup girls a kind of an inspiration” (74). She additionally covers the push toward successful “all girl groups” and the revolutionary push of women performers and music players, not just strippers and burlesque dancers, pushing far beyond “just a pin up” (95). Then, the entertainment reflected the cultural push for women to join the work force and strong women individuals. In particular, Yellin uses the example of Mrs. Miniver and Wonder Woman. However, the WAACS had their own brand of entertainment/pinup in “Cary Grant, Clark Gable, Tyronne Power, and General MacArthur” (129).
Overall, Yellin presents a fascinating and compelling discussion and holistically discusses the female experience during World War II. At times, her writing style can be contrived and pandering to a very specific demographic (appealing to the pro-masculine, pro militant). Some of her most interesting morsels of history tend to be imbedded or pushed to latter parts of her discussion, and these portions could serve as interesting discussions in their own rights.

Our Mothers' War

2017-10-18T03:14:36Z

Kwirtz1:

{{Infobox book
| name = Our Mothers' War
| image =[[File:Ourmothers.jpeg|200px|alt=Cover]]
| image_caption =
| author = Emily Yellin
| translator =
| country = United States
| language = English
| series =
| publisher = Free Press
| pub_date = 2004
| pages = 447
| isbn = 0-7432-4516-4.
| oclc =
| congress =
}}

Emily Yellin’s book examines the role of women in shaping life at home and abroad during World War II. Yellin draws from personal accounts, historic documentation, and traditional interpretations on World War II history. She traditionally comes from a journalism background, and she remains acutely aware that her interpretation is non-conventional. Inspiration came from reading wartime letters from her mother. As a common trend, the epic love story and whirlwind romances, followed by a surge of women into the work force inspired by a buxom beauty in a blue jumpsuit with a red bandana, are the key markers of women’s experience with the war, and Yellin doesn’t digress far from this narrative, but she does add some additional color with her extensive use of personal accounts from numerous women, in conjunction with her compelling style. In her epilogue, she essentially trivializes here entire work by outright declaring that she should “never claim that women’s part during the war was as significant as their’s [the men’s].” However, she does note the fact the women’s contributions tend to be an “afterthought,” and notes her desire (377).

As an underlying theme, Yellin does discuss the topic of discrimination throughout the period. She brushes on racial discrimination in the work force. Some of the women’s experiences covered in the text involve women being told that they did not have to work with African American women (55). She additionally dedicates time to “Jane Crow” and the discrimination against Japanese American Women. Initially, African American women gained the last admittance to certain avenues of the new employment. Early in the war, African American women were not even allowed to be nurses, until the military came under fire from the NAACP and the NACGN. Initial admittance to the nurse corps, African American women were only allowed to provide practice for African American men. However, much like the frontline at home, discriminatory practices had to be abandoned by 1944 as resources ran thin (212-224)

“Be wary of war time romance” (5). War lead to hasty marriages, but despite warnings, many romances ensued. Thus, “self-help” and marital advice books were published to help both the new brides and those at home with children, including So Your Husband’s Gone to War which prepared women for the hardships they were going to endure without their husbands. One interesting aspect Yellin covers are the “Camp Followers,” women who of course followed their men abroad, but this act was deemed selfish and frowned upon because it wasted valuable resources (19). Instead, it was promoted for women to contribute at home. World War II expanded, and arguably redefined, the notion of the “homemaker” beyond as Yellin notes “contrived, one-dimensional woman, like Betty Crocker” (36). As commonly known, women’s roles both inside and outside the home, and women were encouraged to find ways to contribute to the war without following the men around.

The popular advertising slogan “Soldiers without guns” was used to compel women into the workforce (39). Despite the obvious need for workers with so many men overseas, female workers were not the initial answer to the problem. Initially, the push for women to enter the workforce began in the 1930s, but many still opposed hiring African Americans and women. In 1942, the luxury of prejudice was no longer an option in the workforce. The single most memorable figure of women entering the workforce emerged in 1943—Rosie the Riveter—in a song. She served to recruit the single women to joing the work force. However, eventually, housewives were also needed in the workforce, which was an even more scandalous proposition. Once it became more common, women worked throughout the first seven months of pregnancy even.

Prior to the war 11 million women were in the workforce, and 6 million joined during the war which lead to 50% of America’s women being employed. Despite the inspiring tenor, it was very well understood and enforced that the independence was temporary. However, the independence gained through money was very appealing, and women sought to gain money for various ends from it—support families, buy new supplies for their babies, and achieve professional goals, like Barbara Walls who used riveting as a means to gain an English degree from NYU. Additionally, Yellin notes the story of Norma Jean Dougherty joining the workforce, and then transitioning into modeling after a factory photo shoot (56-57). She does not limit the discussion to simply the home front; she dedicates the second portion of her book to women who served in positions within the military with equal treatment given to enlisted officers, WAACS, WAVES, SPARS, Marines, WASPS, and nurses.

Beyond covering women’s personal experiences, Yellin also covers the fiction and iconography used as motivation and escapism during the War. She discusses starlets like Marilyn Monroe, Hedy Lamarr, Lana Turner, and Dottie Lamour. She quotes Betty Grable saying “A lot of guys don’t have any girl friends to fight for. I guess you could call us pinup girls a kind of an inspiration” (74). She additionally covers the push toward successful “all girl groups” and the revolutionary push of women performers and music players, not just strippers and burlesque dancers, pushing far beyond “just a pin up” (95). Then, the entertainment reflected the cultural push for women to join the work force and strong women individuals. In particular, Yellin uses the example of Mrs. Miniver and Wonder Woman. However, the WAACS had their own brand of entertainment/pinup in “Cary Grant, Clark Gable, Tyronne Power, and General MacArthur” (129).
Overall, Yellin presents a fascinating and compelling discussion and holistically discusses the female experience during World War II. At times, her writing style can be contrived and pandering to a very specific demographic (appealing to the pro-masculine, pro militant). Some of her most interesting morsels of history tend to be imbedded or pushed to latter parts of her discussion, and these portions could serve as interesting discussions in their own rights.

File:Ourmothers.jpeg

2017-10-18T03:12:29Z

Kwirtz1:

Our Mothers' War

2017-10-18T03:10:49Z

Kwirtz1:

{{Infobox book
| name = Our Mothers' War
| image =[[File: .jpeg|200px|alt=Cover]]
| image_caption =
| author = Emily Yellin
| translator =
| country = United States
| language = English
| series =
| publisher = Free Press
| pub_date = 2004
| pages = 447
| isbn = 0-7432-4516-4.
| oclc =
| congress =
}}

Emily Yellin’s book examines the role of women in shaping life at home and abroad during World War II. Yellin draws from personal accounts, historic documentation, and traditional interpretations on World War II history. She traditionally comes from a journalism background, and she remains acutely aware that her interpretation is non-conventional. Inspiration came from reading wartime letters from her mother. As a common trend, the epic love story and whirlwind romances, followed by a surge of women into the work force inspired by a buxom beauty in a blue jumpsuit with a red bandana, are the key markers of women’s experience with the war, and Yellin doesn’t digress far from this narrative, but she does add some additional color with her extensive use of personal accounts from numerous women, in conjunction with her compelling style. In her epilogue, she essentially trivializes here entire work by outright declaring that she should “never claim that women’s part during the war was as significant as their’s [the men’s].” However, she does note the fact the women’s contributions tend to be an “afterthought,” and notes her desire (377).

As an underlying theme, Yellin does discuss the topic of discrimination throughout the period. She brushes on racial discrimination in the work force. Some of the women’s experiences covered in the text involve women being told that they did not have to work with African American women (55). She additionally dedicates time to “Jane Crow” and the discrimination against Japanese American Women. Initially, African American women gained the last admittance to certain avenues of the new employment. Early in the war, African American women were not even allowed to be nurses, until the military came under fire from the NAACP and the NACGN. Initial admittance to the nurse corps, African American women were only allowed to provide practice for African American men. However, much like the frontline at home, discriminatory practices had to be abandoned by 1944 as resources ran thin (212-224)

“Be wary of war time romance” (5). War lead to hasty marriages, but despite warnings, many romances ensued. Thus, “self-help” and marital advice books were published to help both the new brides and those at home with children, including So Your Husband’s Gone to War which prepared women for the hardships they were going to endure without their husbands. One interesting aspect Yellin covers are the “Camp Followers,” women who of course followed their men abroad, but this act was deemed selfish and frowned upon because it wasted valuable resources (19). Instead, it was promoted for women to contribute at home. World War II expanded, and arguably redefined, the notion of the “homemaker” beyond as Yellin notes “contrived, one-dimensional woman, like Betty Crocker” (36). As commonly known, women’s roles both inside and outside the home, and women were encouraged to find ways to contribute to the war without following the men around.

The popular advertising slogan “Soldiers without guns” was used to compel women into the workforce (39). Despite the obvious need for workers with so many men overseas, female workers were not the initial answer to the problem. Initially, the push for women to enter the workforce began in the 1930s, but many still opposed hiring African Americans and women. In 1942, the luxury of prejudice was no longer an option in the workforce. The single most memorable figure of women entering the workforce emerged in 1943—Rosie the Riveter—in a song. She served to recruit the single women to joing the work force. However, eventually, housewives were also needed in the workforce, which was an even more scandalous proposition. Once it became more common, women worked throughout the first seven months of pregnancy even.

Prior to the war 11 million women were in the workforce, and 6 million joined during the war which lead to 50% of America’s women being employed. Despite the inspiring tenor, it was very well understood and enforced that the independence was temporary. However, the independence gained through money was very appealing, and women sought to gain money for various ends from it—support families, buy new supplies for their babies, and achieve professional goals, like Barbara Walls who used riveting as a means to gain an English degree from NYU. Additionally, Yellin notes the story of Norma Jean Dougherty joining the workforce, and then transitioning into modeling after a factory photo shoot (56-57). She does not limit the discussion to simply the home front; she dedicates the second portion of her book to women who served in positions within the military with equal treatment given to enlisted officers, WAACS, WAVES, SPARS, Marines, WASPS, and nurses.

Beyond covering women’s personal experiences, Yellin also covers the fiction and iconography used as motivation and escapism during the War. She discusses starlets like Marilyn Monroe, Hedy Lamarr, Lana Turner, and Dottie Lamour. She quotes Betty Grable saying “A lot of guys don’t have any girl friends to fight for. I guess you could call us pinup girls a kind of an inspiration” (74). She additionally covers the push toward successful “all girl groups” and the revolutionary push of women performers and music players, not just strippers and burlesque dancers, pushing far beyond “just a pin up” (95). Then, the entertainment reflected the cultural push for women to join the work force and strong women individuals. In particular, Yellin uses the example of Mrs. Miniver and Wonder Woman. However, the WAACS had their own brand of entertainment/pinup in “Cary Grant, Clark Gable, Tyronne Power, and General MacArthur” (129).
Overall, Yellin presents a fascinating and compelling discussion and holistically discusses the female experience during World War II. At times, her writing style can be contrived and pandering to a very specific demographic (appealing to the pro-masculine, pro militant). Some of her most interesting morsels of history tend to be imbedded or pushed to latter parts of her discussion, and these portions could serve as interesting discussions in their own rights.

Our Mothers' War

2017-10-18T03:10:08Z

Kwirtz1:

{{Infobox book
| name = Our Mothers' War
| image =[[File: .jpeg|200px|alt=Cover]]
| image_caption =
| author = Emily Yellin
| translator =
| country = United States
| language = English
| series =
| publisher = Free Press
| pub_date = 2004
| pages = 295
| isbn = 0-7432-4516-4.
| oclc =
| congress =
}}

Emily Yellin’s book examines the role of women in shaping life at home and abroad during World War II. Yellin draws from personal accounts, historic documentation, and traditional interpretations on World War II history. She traditionally comes from a journalism background, and she remains acutely aware that her interpretation is non-conventional. Inspiration came from reading wartime letters from her mother. As a common trend, the epic love story and whirlwind romances, followed by a surge of women into the work force inspired by a buxom beauty in a blue jumpsuit with a red bandana, are the key markers of women’s experience with the war, and Yellin doesn’t digress far from this narrative, but she does add some additional color with her extensive use of personal accounts from numerous women, in conjunction with her compelling style. In her epilogue, she essentially trivializes here entire work by outright declaring that she should “never claim that women’s part during the war was as significant as their’s [the men’s].” However, she does note the fact the women’s contributions tend to be an “afterthought,” and notes her desire (377).

As an underlying theme, Yellin does discuss the topic of discrimination throughout the period. She brushes on racial discrimination in the work force. Some of the women’s experiences covered in the text involve women being told that they did not have to work with African American women (55). She additionally dedicates time to “Jane Crow” and the discrimination against Japanese American Women. Initially, African American women gained the last admittance to certain avenues of the new employment. Early in the war, African American women were not even allowed to be nurses, until the military came under fire from the NAACP and the NACGN. Initial admittance to the nurse corps, African American women were only allowed to provide practice for African American men. However, much like the frontline at home, discriminatory practices had to be abandoned by 1944 as resources ran thin (212-224)

“Be wary of war time romance” (5). War lead to hasty marriages, but despite warnings, many romances ensued. Thus, “self-help” and marital advice books were published to help both the new brides and those at home with children, including So Your Husband’s Gone to War which prepared women for the hardships they were going to endure without their husbands. One interesting aspect Yellin covers are the “Camp Followers,” women who of course followed their men abroad, but this act was deemed selfish and frowned upon because it wasted valuable resources (19). Instead, it was promoted for women to contribute at home. World War II expanded, and arguably redefined, the notion of the “homemaker” beyond as Yellin notes “contrived, one-dimensional woman, like Betty Crocker” (36). As commonly known, women’s roles both inside and outside the home, and women were encouraged to find ways to contribute to the war without following the men around.

The popular advertising slogan “Soldiers without guns” was used to compel women into the workforce (39). Despite the obvious need for workers with so many men overseas, female workers were not the initial answer to the problem. Initially, the push for women to enter the workforce began in the 1930s, but many still opposed hiring African Americans and women. In 1942, the luxury of prejudice was no longer an option in the workforce. The single most memorable figure of women entering the workforce emerged in 1943—Rosie the Riveter—in a song. She served to recruit the single women to joing the work force. However, eventually, housewives were also needed in the workforce, which was an even more scandalous proposition. Once it became more common, women worked throughout the first seven months of pregnancy even.

Prior to the war 11 million women were in the workforce, and 6 million joined during the war which lead to 50% of America’s women being employed. Despite the inspiring tenor, it was very well understood and enforced that the independence was temporary. However, the independence gained through money was very appealing, and women sought to gain money for various ends from it—support families, buy new supplies for their babies, and achieve professional goals, like Barbara Walls who used riveting as a means to gain an English degree from NYU. Additionally, Yellin notes the story of Norma Jean Dougherty joining the workforce, and then transitioning into modeling after a factory photo shoot (56-57). She does not limit the discussion to simply the home front; she dedicates the second portion of her book to women who served in positions within the military with equal treatment given to enlisted officers, WAACS, WAVES, SPARS, Marines, WASPS, and nurses.

Beyond covering women’s personal experiences, Yellin also covers the fiction and iconography used as motivation and escapism during the War. She discusses starlets like Marilyn Monroe, Hedy Lamarr, Lana Turner, and Dottie Lamour. She quotes Betty Grable saying “A lot of guys don’t have any girl friends to fight for. I guess you could call us pinup girls a kind of an inspiration” (74). She additionally covers the push toward successful “all girl groups” and the revolutionary push of women performers and music players, not just strippers and burlesque dancers, pushing far beyond “just a pin up” (95). Then, the entertainment reflected the cultural push for women to join the work force and strong women individuals. In particular, Yellin uses the example of Mrs. Miniver and Wonder Woman. However, the WAACS had their own brand of entertainment/pinup in “Cary Grant, Clark Gable, Tyronne Power, and General MacArthur” (129).
Overall, Yellin presents a fascinating and compelling discussion and holistically discusses the female experience during World War II. At times, her writing style can be contrived and pandering to a very specific demographic (appealing to the pro-masculine, pro militant). Some of her most interesting morsels of history tend to be imbedded or pushed to latter parts of her discussion, and these portions could serve as interesting discussions in their own rights.

Our Mothers' War

2017-10-18T03:06:27Z

Kwirtz1: Created page with "{{Infobox book | name = Environmental Values in American Culture | image =alt=Cover | image_caption = | author..."

{{Infobox book
| name = Environmental Values in American Culture
| image =[[File: EnvironmentBookCover.jpeg|200px|alt=Cover]]
| image_caption =
| author = Willet Kempton, James S. Boster, and Jennifer A. Hartley
| translator =
| country = United States
| language = English
| series =
| publisher = MIT Press
| pub_date = 1999
| pages = 295
| isbn = 9780262611237, 9780262276979, 9780585339870.
| oclc =
| congress =
}}

Emily Yellin’s book examines the role of women in shaping life at home and abroad during World War II. Yellin draws from personal accounts, historic documentation, and traditional interpretations on World War II history. She traditionally comes from a journalism background, and she remains acutely aware that her interpretation is non-conventional. Inspiration came from reading wartime letters from her mother. As a common trend, the epic love story and whirlwind romances, followed by a surge of women into the work force inspired by a buxom beauty in a blue jumpsuit with a red bandana, are the key markers of women’s experience with the war, and Yellin doesn’t digress far from this narrative, but she does add some additional color with her extensive use of personal accounts from numerous women, in conjunction with her compelling style. In her epilogue, she essentially trivializes here entire work by outright declaring that she should “never claim that women’s part during the war was as significant as their’s [the men’s].” However, she does note the fact the women’s contributions tend to be an “afterthought,” and notes her desire (377).

As an underlying theme, Yellin does discuss the topic of discrimination throughout the period. She brushes on racial discrimination in the work force. Some of the women’s experiences covered in the text involve women being told that they did not have to work with African American women (55). She additionally dedicates time to “Jane Crow” and the discrimination against Japanese American Women. Initially, African American women gained the last admittance to certain avenues of the new employment. Early in the war, African American women were not even allowed to be nurses, until the military came under fire from the NAACP and the NACGN. Initial admittance to the nurse corps, African American women were only allowed to provide practice for African American men. However, much like the frontline at home, discriminatory practices had to be abandoned by 1944 as resources ran thin (212-224)

“Be wary of war time romance” (5). War lead to hasty marriages, but despite warnings, many romances ensued. Thus, “self-help” and marital advice books were published to help both the new brides and those at home with children, including So Your Husband’s Gone to War which prepared women for the hardships they were going to endure without their husbands. One interesting aspect Yellin covers are the “Camp Followers,” women who of course followed their men abroad, but this act was deemed selfish and frowned upon because it wasted valuable resources (19). Instead, it was promoted for women to contribute at home. World War II expanded, and arguably redefined, the notion of the “homemaker” beyond as Yellin notes “contrived, one-dimensional woman, like Betty Crocker” (36). As commonly known, women’s roles both inside and outside the home, and women were encouraged to find ways to contribute to the war without following the men around.

The popular advertising slogan “Soldiers without guns” was used to compel women into the workforce (39). Despite the obvious need for workers with so many men overseas, female workers were not the initial answer to the problem. Initially, the push for women to enter the workforce began in the 1930s, but many still opposed hiring African Americans and women. In 1942, the luxury of prejudice was no longer an option in the workforce. The single most memorable figure of women entering the workforce emerged in 1943—Rosie the Riveter—in a song. She served to recruit the single women to joing the work force. However, eventually, housewives were also needed in the workforce, which was an even more scandalous proposition. Once it became more common, women worked throughout the first seven months of pregnancy even.

Prior to the war 11 million women were in the workforce, and 6 million joined during the war which lead to 50% of America’s women being employed. Despite the inspiring tenor, it was very well understood and enforced that the independence was temporary. However, the independence gained through money was very appealing, and women sought to gain money for various ends from it—support families, buy new supplies for their babies, and achieve professional goals, like Barbara Walls who used riveting as a means to gain an English degree from NYU. Additionally, Yellin notes the story of Norma Jean Dougherty joining the workforce, and then transitioning into modeling after a factory photo shoot (56-57). She does not limit the discussion to simply the home front; she dedicates the second portion of her book to women who served in positions within the military with equal treatment given to enlisted officers, WAACS, WAVES, SPARS, Marines, WASPS, and nurses.

Beyond covering women’s personal experiences, Yellin also covers the fiction and iconography used as motivation and escapism during the War. She discusses starlets like Marilyn Monroe, Hedy Lamarr, Lana Turner, and Dottie Lamour. She quotes Betty Grable saying “A lot of guys don’t have any girl friends to fight for. I guess you could call us pinup girls a kind of an inspiration” (74). She additionally covers the push toward successful “all girl groups” and the revolutionary push of women performers and music players, not just strippers and burlesque dancers, pushing far beyond “just a pin up” (95). Then, the entertainment reflected the cultural push for women to join the work force and strong women individuals. In particular, Yellin uses the example of Mrs. Miniver and Wonder Woman. However, the WAACS had their own brand of entertainment/pinup in “Cary Grant, Clark Gable, Tyronne Power, and General MacArthur” (129).
Overall, Yellin presents a fascinating and compelling discussion and holistically discusses the female experience during World War II. At times, her writing style can be contrived and pandering to a very specific demographic (appealing to the pro-masculine, pro militant). Some of her most interesting morsels of history tend to be imbedded or pushed to latter parts of her discussion, and these portions could serve as interesting discussions in their own rights.

Twentieth Century United States

2017-10-18T03:04:50Z

Kwirtz1: /* Book Summaries */

==Book Summaries==
* Donna Alvah. [http://tropicsofmeta.wordpress.com/2010/12/29/women-and-children-first-the-importance-of-gender-and-military-families-in-the-cold-war-era/ Unofficial Ambassadors: American Military Families Overseas and the Cold War, 1946-1965] (2007).
* Luis Alvarez. [[The Power of the Zoot|The Power of the Zoot: Youth Culture and Resistance during World War II]] (2008).
* Karen Anderson. [[Wartime Women|Wartime Women: Sex Roles, Family Relations, and the Status of Women During World War II]] (1981).
* Michael Aronson. [[Nickelodeon City|Nickelodeon City: Pittsburgh at the Movies, 1905-1929]] (2008).
* Eric Avila. [[Popular Culture in the Age of White Flight|Popular Culture in the Age of White Flight: Fear and Fantasy in Suburban Los Angeles]] (2004).
* Beth Bailey. [[America’s Army|America’s Army: Making the All-Volunteer Force]] (2009).
* Beth Bailey & David Farber. [[The First Strange Place|The First Strange Place: The Alchemy of Race and Sex in World War II Hawaii]] (1992).
* Beth Bailey. [[From Front Porch to Back Seat|From Front Porch to Back Seat: Courtship in Twentieth-Century America]] (1989).
* Mark Brilliant. [http://tropicsofmeta.wordpress.com/2012/11/29/californication-race-ethnicity-and-unity-in-twentieth-century-california/ Californication: Race, Ethnicity, and Unity in Twentieth Century California] (2012).
* Amy Bridges. [[Morning Glories]] (1999).
* Laura Briggs. [[Reproducing Empire|Reproducing Empire: Race, Sex, Science, and U.S. Imperialism in Puerto Rico]] (2002).
* Alan Brinkley. [[Voices of Protest|Voices of Protest: Huey Long, Father Coughlin, & the Great Depression]] (1983).
* Charlotte Brooks. [[Alien Neighbors, Foreign Friends|Alien Neighbors, Foreign Friends: Asian Americans, Housing, and the Transformation of Urban California]] (2009).
* William Fitzhugh Brundage. [[The Southern Past|The Southern Past: a Clash of Race and Memory]] (2005).
* Catherine Fisher Collins. [[The Imprisonment of African American Women| The Imprisonment of African American Women: Causes, Conditions, and Future Implications]] (1997).
* Robert Caro. [http://tropicsofmeta.wordpress.com/2011/08/12/dog-days-classics-robert-caros-controversial-portrait-of-robert-moses-and-new-york/ The Power Broker: Robert Moses and the Fall of New York](1974)
* Shawn Clements. [[Deaf in America|Deaf in America: Voices from a Culture]](1988).
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