Set primarily in the lonesome southwest desert lands of the 1920s, this novella is a powerful story in which landscape reflects and defines character. In this beautifully written tale, a promising young politician, Grant Arliss, flees from this pressure-ridden life in New York City to the serenity of the desert’s open spaces.

There, he finds not only a place to sort out his confusion but also a remarkable woman, unlike any he has met. In his eyes, Dulcie Adelaid is an aloof creature of the desert who relies only on herself. Challenged and yet inhibited by the desert’s unrelenting force, Arliss admires Dulcie’s instinctive ability to thrive in the harsh country. She also provides a spiritual sustenance that he has never found with any other woman. Together they engage in lively conversations about his political convictions and her beliefs and values. Inspired, Arliss returns to New York where he delivers eloquent speeches to an overwhelmingly supportive constituency.

Placing Cactus Thorn in biographical, feminist, and literary perspective, Melody Graulich's commentary discusses how Austin’s themes are timeless in setting and moral tone. Foreword and afterword by Melody Graulich.

Considers Gilman’s place in American literary and social history by examining her relationships to other prominent intellectuals of her era

By placing Charlotte Perkins Gilman in the company of her contemporaries, this collection seeks to correct misunderstandings of the feminist writer and lecturer as an isolated radical. Gilman believed and preached that no life is ever led in isolation; indeed, the cornerstone of her philosophy was the idea that “humanity is a relation.”
 
Gilman's highly public and combative stances as a critic and social activist brought her into contact and conflict with many of the major thinkers and writers of the period, including Mary Austin, Margaret Sanger, Ambrose Bierce, Grace Ellery Channing, Lester Ward, Inez Haynes Gillmore, William Randolph Hearst, Karen Horney, William Dean Howells, Catharine Beecher, George Bernard Shaw, and Owen Wister. Gilman wrote on subjects as wide ranging as birth control, eugenics, race, women's rights and suffrage, psychology, Marxism, and literary aesthetics. Her many contributions to social, intellectual, and literary life at the turn of the 20th century raised the bar for future discourse, but at great personal and professional cost.
 

In the past twenty-five years many Native American writers have retold the traditional stories of powerful mythological women: Corn Woman, Changing Woman, Serpent Woman, and Thought Woman, who with her sisters created all life by thinking it into being.  Within and in response to these evolving traditions, Leslie Marmon Silko takes from her own tradition, the Keres of Laguna, the Yellow Woman.  Yellow Woman stories, always female-centered and always from the Yellow Woman's point of view, portray a figure who is adventurous, strong, and often alienated from her own people.  She is the spirit of woman.  Ambiguous and unsettling, Silko's "Yellow Woman" explores one woman's desires and changes--her need to open herself to a richer sensuality.  Walking away from her everyday identity as daughter, wife and mother, she takes possession of transgressive feelings and desires by recognizing them in the stories she has heard, by blurring the boundaries between herself and the Yellow Woman of myth. 

Silko's decision to tell the story from the narrator's point of view is traditional, but her use of first person narration and the story's much raised ambiguity brilliantly reinforce her themes.  Like traditional yellow women, the narrator is unnamed.  By choosing not to reveal her name, she claims the role of Yellow Woman, and Yellow Woman's story is the one Silko clearly claims as her own. The essays in this collection compare Silko's many retellings of Yellow Woman stories from a variety of angles, looking at crucial themes like storytelling, cultural inheritances, memory, continuity, identity, interconnectedness, ritual, and tradition.

This casebook includes an introduction by the editor, a chronology, an authoritative text of the story itself, critical essays, and a bibliography for further reading in both primary and secondary sources.  Contributors include Kim Barnes, A. LaVonne Ruoff, Paula Gunn Allen, Patricia Clark Smith, Bernard A. Hirsch, Arnold Krupat, Linda Danielson, and Patricia Jones.