For seventy-two years; American women fought for the right to vote; and many remarkable ladies on Long Island worked tirelessly during this important civil rights movement. The colorful--and exceedingly wealthy--Alva Vanderbilt Belmont was undoubtedly the islands most outspoken and controversial advocate for woman suffrage. Ida Bunce Sammis; vigorous in her efforts; became one of the first women elected to the New York legislature. Well-known Harriot Stanton Blatch; daughter of Elizabeth Cady Stanton; worked with countless other famous and ordinary Long Islanders to make her mothers quest a reality. Author Antonia Petrash tells the story of these and other womens struggle to secure the right to vote for themselves; their daughters and future generations of Long Island women.
#1648608 in eBooks 2008-10-23 2008-10-23File Name: B00XQUNHSI
Review
8 of 8 people found the following review helpful. Strong book about Diaghilev; the Ballets Russes; and their impactBy G.C.The Ballets Russes and their impresario; Sergei Diaghilev; are celebrated for their impact on the art of ballet starting in the early 20th century; through Diaghilevs sudden death in 1929. Garafola takes pains to stress in her introduction that she is dealing not only with the art of the Ballets Russes; which others before have also done; but also to cover the business side of Diaghilevs work (the second part; "Enterprise") and the development of an audience attuned to modern trends in ballet (the third part; "Audience"). Accordingly; the first part; "Art"; does not claim to be an exhaustive treatment of all the Ballets Russes productions; but is more an overview of the artistic ethos of the company; with coverage given to particularly celebrated productions; including "Le sacre du printemps"; of course; as well as "Jeux". The "Enterprise" sections shows how Diaghilev had to schmooze and charm wealthy and powerful patrons; and how he sometimes failed at that; alienating the wrong people at the wrong times on more than one occasion. The emphasis in the "Audience" section is on the cultivation of the ballet audience in Paris; naturally enough as Paris was the home of the Ballets Russes; but also in London; which is interesting because Diaghilev evidently had uneasy feelings towards England.Garafola tells the story well; and the photos include selections that may not be all that familiar. The Appendices compile lists of ballets created by Fokine; as well as operas and ballets produced by Diaghilev. In her Epilogue; Garofola rather forlornly notes that ballet had started artistically on the sidelines before Diaghilev; and he brought it center stage in his lifetime; but ballet has been sidelined gradually in the world since his time in overall cultural consciousness. This takes on extra meaning in such difficult economic times as these; where the arts tend to come under the budget ax first.
