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—,
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(Florida: The Wolfsonian, 2012)

—,
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Wik, Annika, ‘In-Between: The Cut’,
Esther Shalev-Gerz
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6. Coming Home: Yael Bartana

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(Berlin: Revolver, 2010)

Alexander, Sally, ‘Primary Maternal Preoccupation: D. W. Winnicott and Social Democracy in Mid-Twentieth-Century Britain’,
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, edited by Sally Alexander and Barbara Taylor (London: Palgrave, 2012)

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Bartana, Yael, 
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?
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—,
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‘Interview with Yael Bartana’,
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7. Damage Limitation: Thérèse Oulton

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—, ‘Notes on Painting’,
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—, ‘Speaking of These Paintings’, Thérèse Oulton in discussion with Peter Gidal,
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—, ‘Brief Notes on a Change of Identity’,
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—, and Sarah Kent, ‘Interview with Thérèse Oulton’,
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, and Vol. 4,
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Afterword

Wenders, Wim and Mary Zournazi,
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(London: I. B. Tauris, 2014)

Acknowledgements

So many people are associated for me with this book, some knowingly, some unknowingly, that it is hard to do them all justice. Each of them in their distinct ways has made their imprint on my thinking on feminist questions over the years. Sally Alexander continues to advise and inspire me through her dedication to feminist history as an ongoing, living project; Cora Kaplan, Laura Mulvey, Constance Penley and Marina Warner likewise for feminist cultural and critical thought. Judith Butler has for many decades been a key interlocutor. All of them have read parts of the manuscript and given advice I have much valued – even if I have not always followed it – surrounding me with a deep sense of feminist community and friendship. Mary-Kay Wilmers has continued to prompt me to take on difficult subjects – Honour Killing and Marilyn Monroe – which I may well not have otherwise realised that I wanted to write about. Chapters 1, 3 and 4 are substantially revised, extended, versions of articles first published in the
London Review of Books
(Nos. 33:12, June 16, 2011, 34:8, April 26, 2012, 31:21, November 5, 2009); Chapter 6 is a revised, extended version of a catalogue entry for Yael Bartana’s exhibition . . . 
And Europe Will Be Stunned
(London: Artangel, 2012). Anne Wagner and T. J. Clark gave me some last-minute but much appreciated feedback on the essay on Thérèse Oulton. I owe special thanks to Esther Shalev-Gerz and to Yael Bartana for being so supportive of my engagement with their work, as I do to Thérèse Oulton, whose quality of attention has come to have a particular resonance for me.?

The various chapters of this book have enormously benefited from the contexts in which they were first delivered as talks. My thanks to Anne Phillips at the LSE for hosting the Ralph Miliband/Gender Institute lecture in May 2011 where I first talked about Rosa Luxemburg; to Mignon Nixon for providing me with the occasion to think about Charlotte Salomon when she invited me to deliver an Andrew Mellon Foundation/Friends of the Courtauld lecture, as part of the series she organised with Juliet Mitchell on ‘Art in the time of war’ at the Courtauld Institute in March 2012; to the
London Review of Books
for inviting me to give a Winter Lecture in May 2012 where I first spoke on Marilyn Monroe; and to Helena Kennedy for giving me the opportunity to talk of Rosa Luxemburg and Marilyn Monroe together for the first time at Mansfield College, Oxford, in October 2012. More than once Stuart Hall gave some of these pages the benefit of his unique attention. Thanks to Braham Murray, with whom I have been in dialogue for most of my life; and to Pat Weller, who went straight to the heart of the matter and made me think. I am indebted to Tracy Bohan at the Wylie Agency, whose faith in this book has been so important to me and who somehow managed to make every stage of its sometimes difficult negotiation a pleasure. I have appreciated Bill Swainson’s commitment and thoughtfulness, and the care of Elizabeth Woabank in seeing the book through press.

Jonathan Sklar has given me enormous support and encouragement throughout this project. Finally, my most important debt is once again to Mia Rose, to whom the book is dedicated, who for many years has accepted sharing our home with all the women discussed in these pages. I have come to rely on her for her organisational skills and to tell me when my sentences do, or rather don’t, work. She is now a woman and the times are dark, but, simply by being who she is, she makes them so much lighter.

The author and publishers acknowledge the following permissions to reprint copyright material:

Extracts from
On Not Being Able to Paint
by Marion Milner, Copyright © Routledge, 2010, used by permission of Taylor & Francis Books UK

Extracts from
After the Fall
by Arthur Miller, Copyright © Arthur Miller, 1964, copyright renewed 1992, used by permission of The Wylie Agency (UK) Limited

Extracts from
The Misfits
by Arthur Miller, Copyright © Arthur Miller, 1957, 1961 used by permission of The Wylie Agency (UK) Limited

Extracts from
My Name Is Salma
by Fadia Faqir, Copyright © Fadia Faqir, 2007, used by permission of Penguin Random House and the author

Extracts from
In Honor of Fadime: Murder and Shame
by Unni Wikan, translated by Anna Paterson, Copyright © The University of Chicago, 2008, used by permission of Chicago University Press

Extracts from
Anna Christie
by Eugene O’Neill, Copyright © Eugene O’Neill, 1921, reprinted by permission of ICM Partners

Extracts from
Fragments: Poems, Intimate Notes, Letters by Marilyn Monroe
, edited by Stanley Buchthal and Bernard Comment, Copyright © LSAS International, Inc, 2010, reprinted by permission of HarperCollins Publishers Ltd

Extracts from
Thomas Mann, Doctor Faustus
by Thomas Mann, Copyright © Thomas Mann, 1947. All rights reserved by S. Fischer Verlag GmbH, Frankfurt am Main

Extracts from
Maps for Lost Lovers
by Nadeem Aslam, Copyright © Nadeem Aslam, 2004, used by permission of Faber and Faber Ltd and A.M. Heath & Co Ltd

Extracts from ‘Fantasia sopra Carmen’,
Quasi una Fantasia: Essays on Modern Music
by Theodor W. Ardono, translated by Rodney Livingstone, Copyright © Theodor W. Ardono, 1955, used by permission of Verso

Extracts from
Shame
by Jasvinder Sanghera, Copyright © Jasvinder Sanghera, 2007, used by permission of Hodder and Stoughton and the author

Extracts from
Honour
by Elif Shafak, Copyright © Elif Shafak, 2012, used by permission of Penguin Random House

Extracts from
Murder in the Name of Honour
by Rana Husseini, Copyright © Rana Husseini, 2009, used by permission of Oneworld Publications