Women and War | 
| Author: Jenny Matthews
Publisher: University of Michigan Press
Category: Book
List Price: $29.95
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Avg. Customer Rating:  4 reviews
Sales Rank: 939725
Media: Paperback
Number Of Items: 1
Pages: 192
Shipping Weight (lbs): 1.3
Dimensions (in): 9.5 x 6.7 x 0.8
ISBN: 0472089641
Dewey Decimal Number: 779.930366
EAN: 9780472089642
ASIN: 0472089641
Publication Date: August 15, 2003
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| Editorial Reviews:
Product Description
War is overwhelmingly a male occupation. Yet its victims are often civilians -- many among them women and children.
In Women and War Jenny Matthews gives a voice to this silent majority of casualties through a series of deeply moving -- sometimes disturbing -- photographs of human subjects in the midst of war and conflict wherever they are found.
Twenty years of visual and written diaries tell of human struggle around the world -- in Nicaragua, Sierra Leone, Afghanistan, Burma, Chechnya, Haiti, the United Kingdom, Guatemala, and Sudan, among others. Jenny Matthews documents women and the roles they play -- avoiding, coping, confronting, participating -- as well as the emotions they experience: anger, fear, despair, joy, hope, terror.
Jenny Matthews records the stories of the people she photographs, both visually and with written diaries that underscore the immediacy of the images, drawing connections between the different countries. Above all her book is a celebration of the lives of women, and how their role as actual or potential mothers changes their relationship to war.
Jenny Matthews, freelance photographer and filmmaker, chronicles the devastating effects of armed conflict on women. Her work has been exhibited by Oxfam and Womankind Worldwide, and has appeared in magazines such as Mother Jones.
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| Customer Reviews:
Everyone should read this book May 14, 2007
1 out of 1 found this review helpful
The photography in this book is so moving that you will find yourself stopping at a page for 5 minutes immersed deep in thought. Women AND men will find this book equally enlightening. Truly deeply moving.
A picture IS worth a thousand words April 6, 2004
3 out of 4 found this review helpful
This is an absolutely stunning collection of photographs that explore the effects of war upon the women of the world. Snapped in Africa, Asia, the Americas, Europe, and the Middle East, Matthew's cameos evoke fear, rage, determination, eros, absurdity, horror, humor, despair, hope.The cover offers a photo of a young Ethiopian freedom fighter hoisting a rifle over her shoulders. Her hips are askew, an ammunition belt draped around them. There's something uncannily innocent about the image; one could easily imagine that the young woman is dressed in the latest punk fashion and on her way to a club. But open the book to the first full-page photograph inside the covers, and Matthews quickly disabuses us of any urge to romanticize war. The photo is an in-your-face portrait of Phuong, an eight-year-old Vietnamese girl who was born without eyes because her mother was poisoned years earlier by Agent Orange. The rest of the photos follow this initial template of drawing stark contrasts between images of beauty and images of horror. One of the most memorable contrasts is midway through the book. One page shows stacks and stacks of weapons. The opposing page shows stacks and stacks of human bones, remains of genocide victims. The text is minimal. In a book such as this, the photographs should speak for themselves. Trust me: they do.
A picture IS worth thousands of words April 2, 2004
1 out of 1 found this review helpful
This is an absolutely stunning collection of photographs that explore the effects of war upon the women of the world. Snapped in Africa, Asia, the Americas, Europe, and the Middle East, Matthew's cameos evoke fear, rage, determination, sensuality, absurdity, horror, humor, despair, hope.The cover offers a photo of a young Ethiopian freedom fighter hoisting a rifle over her shoulder, hips askew and drapped with an ammunition belt. There's somethng uncannily sensual about the image--graceful, seductive--that speaks, perhaps, to our fascination in the West with violence and sex. But open the book to the first full page photograph inside the covers, and Matthew quickly disabuses one of any urge to romanticize or sensualize war. The photo is an in-your-face portrait of Phuong, an eight-year-old Vietnamese girl who was born without eyes because her mother had been poisoned years earlier by Agent Orange. The rest of the photos follow this template of stark contrasts between beauty and horror. One of the most memorable contrasts is midway through the book. One pages shows stacks and stacks of weapons. The facing page shows stacks and stacks of human bones, remains of genocide victims. The text is minimal, as it should be in a book like this. The photographs should speak for themselves. Trust me: they do.
A picture IS worth thousands of words March 31, 2004
1 out of 1 found this review helpful
This is an absolutely stunning collection of photographs that explore the effects of war upon the women of the world. Snapped in Africa, Asia, the Americas, Europe, and the Middle East, Matthew's cameos evoke fear, rage, determination, sensuality, absurdity, horror, humor, despair, hope. The cover offers a photo of a young Ethiopian freedom fighter hosting a rifle over her shoulder, hips askew, with an ammunition belt drapped around them. There's something uncannily sensual about the image--graceful, seductive--that speaks, perhaps, to our fascination in the West with violence and sex. But open the book to the first full page photograph inside the covers, and Matthew quickly disabuses one of any urge to romanticize of sensualize war. The photo is an in-your-face portrait of Phuong, an eight-year-old Vietnamese girl who was born without eyes because her mother was poisoned by Agent Orange years earlier. The rest of the photos follow this initial template of starkly contrasts between beauty and horror. One of the most memorable contrasts is midway through the book. One page shows stacks and stacks of weapons. The other shows stacks and stacks of human bones, remains of genocide victims. The text is minimal, as it should be in a book such as this. The photographs should speak for themselves. Trust me: they do.
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