{"id":90879,"date":"2015-10-19T18:24:25","date_gmt":"2015-10-19T22:24:25","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=90879"},"modified":"2015-10-20T11:28:56","modified_gmt":"2015-10-20T15:28:56","slug":"no-gate-no-lock-no-bolt","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/10\/19\/no-gate-no-lock-no-bolt\/","title":{"rendered":"No Gate, No Lock, No Bolt"},"content":{"rendered":"<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/dobkin_rarepic.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-90882\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7884.jpg\" alt=\"IMG_7884\" width=\"600\" height=\"793\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7884.jpg 2165w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7884-227x300.jpg 227w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7884-774x1024.jpg 774w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>These images are from <a href=\"http:\/\/www.glennhorowitz.com\/rare\/dobkin\">the Dobkin Family Collection of Feminist History\u2019s exhibition, on display through Saturday, October 24, at Glenn Horowitz Booksellers\u2019 Rare Gallery, in New York<\/a>. The show takes its title from a powerful passage in Woolf\u2019s <em>A Room of One\u2019s Own<\/em> about the female novelists of the nineteenth century:<\/p>\n<blockquote>\n<p>What genius, what integrity it must have required \u2026 in the midst of that purely patriarchal society, to hold fast to the thing as they saw it without shrinking. Only Jane Austen did it and Emily Bront\u00eb \u2026 They wrote as women write, not as men write. Of all the thousand women who wrote novels then, they alone entirely ignored the perpetual admonitions of the eternal pedagogue\u2014write this, think that. They alone were deaf to that persistent voice, now grumbling, now patronizing, now domineering, now grieved, now shocked, now angry, now avuncular, that voice which cannot let women alone, but must be at them, like some too-conscientious governess, adjuring them, like Sir Egerton Brydges, to be refined; dragging even into the criticism of poetry criticism of sex; admonishing them, if they would be good and win, as I suppose, some shiny prize, to keep within certain limits which the gentleman in question thinks suitable \u2026 It would have needed a very stalwart young woman in 1828 to disregard all those snubs and chidings and promises of prizes. One must have been something of a firebrand to say to oneself, Oh, but they can\u2019t buy literature too. Literature is open to everybody. I refuse to allow you, Beadle though you are, to turn me off the grass. Lock up your libraries if you like; but there is no gate, no lock, no bolt, that you can set upon the freedom of my mind.<\/p>\n<\/blockquote>\n<p>The Dobkin Family Collection, amassed over twenty-five years by the philanthropist Barbara Dobkin,\u00a0spans five hundred years and comprises thousands of letters, papers, posters, and ephemera pertaining to women\u2019s advancements in all walks of life. It\u2019s intended to help research and writing on the history of feminism. Among the items on display at \u201cNo Gate\u201d are Simone de Beauvoir\u2019s working manuscript for <em>The Second Sex<\/em>; a lighthouse logbook signed by a young Virginia Woolf, who was apparently later moved to write <em>To the Lighthouse<\/em>\u00a0by her experience there; Margaret Sanger\u2019s manuscript notebook for\u00a0<em>Family Limitation<\/em>; and a letter from Amelia Earhart on\u00a0<em>Cosmopolitan<\/em>\u00a0letterhead naming her as their aviation editor.\u00a0<!--more--><\/p>\n<div id=\"attachment_90883\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7862-copy.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90883\" class=\"wp-image-90883\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7862-copy.jpg\" alt=\"\" width=\"600\" height=\"682\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7862-copy.jpg 2065w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7862-copy-264x300.jpg 264w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7862-copy-901x1024.jpg 901w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90883\" class=\"wp-caption-text\">Philip Grushkin\u2019s original dust jacket for the 1953 American edition of <i>The Second Sex.<\/i><\/p><\/div>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/dobkin_rarepic.jpg\"><br \/><\/a> <a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7880.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-90881\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7880.jpg\" alt=\"IMG_7880\" width=\"600\" height=\"894\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7880.jpg 1861w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7880-201x300.jpg 201w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7880-688x1024.jpg 688w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a> <a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7884.jpg\"><br \/><\/a><\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7868.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-90884\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7868.jpg\" alt=\"IMG_7868\" width=\"600\" height=\"775\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7868.jpg 1534w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7868-232x300.jpg 232w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/img_7868-793x1024.jpg 793w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; These images are from the Dobkin Family Collection of Feminist History\u2019s exhibition, on display through Saturday, October 24, at Glenn Horowitz Booksellers\u2019 Rare Gallery, in New York. The show takes its title from a powerful passage in Woolf\u2019s A Room of One\u2019s Own about the female novelists of the nineteenth century: What genius, what [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[19868,16739,19866,7165,1102,19867,19869,19870,8941,969],"class_list":["post-90879","post","type-post","status-publish","format-standard","hentry","category-look","tag-a-room-of-ones-own","tag-amelia-earhart","tag-dobkin-family-collection","tag-ephemera","tag-feminism","tag-feminist-history","tag-glenn-horowitz","tag-rare-gallery","tag-simone-de-beauvoir","tag-virginia-woolf"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Dobkin Family Collection of Feminist 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