New Books in Women's History

With Art for the White House: A Changing Portrait of America (White House Association, 2026), Leslie Greene Bowman presents a wholly new perspective on the White House fine arts collection, revealing how all two-hundred and fifty years of America’s history can be told through the collection. Art for the White House begins with the story of how the collection was created—slowly and cautiously—as our young nation was eager to distinguish itself from artwork that could be associated with the patronage and luxuries of European monarchs. The very first work of art authorized by Congress was a painting that remains one of the greatest works of art in any collection of American art, George Washington by leading American portrait artist, Gilbert Stuart. This is the painting Dolley Madison saved in 1814 when the British set the White House afire and this painting has presided on the walls of the State Rooms longer than any other work of art. Bowman explains, “It is a touchstone to America’s violent and aspirational birth and a tribute to the success of its fragile experiment in the face of globally dominant, centuries-old monarchies.” Despite the symbolism of the first acquisition, the collection that was created and ultimately grew to more than 500 paintings, illustrations, and sculptures, was slow to develop both because the nation was young and trying to define itself and also because of the government’s lack of resources. American art had matured in the 19th century, establishing strengths in landscape, still-life, and genre scenes, but the White House’s collection remained limited. Bowman attributes much of the credit for the growth of the collection to First Lady Jacqueline Kennedy who “made the nation’s history a priority for her expansion of art holdings.” In less than three years, Mrs. Kennedy had transformed the house and art collection. Not only had it doubled in size, it represented the nation’s finest artists and included a variety of subject matter including still lifes, landscapes, history, and genre scenes. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

Todd Berliner's Hollywood Renegade: Elaine May, Mikey and Nicky, and the Making of a Masterpiece (U Texas Press, 2026) examines Elaine May’s Mikey and Nicky with stands out in the history of Hollywood. After a troubled production, massive cost overruns, and lawsuits between May and the studio, the film received scathing reviews and failed at the box office. But the very qualities that initially alienated viewers and reviewers led later generations to regard the film as an overlooked masterpiece. Written and directed by the period’s only female New Hollywood filmmaker, Mikey and Nicky has not received the attention given to other unconventional films of the 1970s. But May worked for years to give each moment of the movie multiple areas of interest. She made every character, even peripheral ones, nuanced and memorable. And she designed every scene, even minor ones, as a performance event. Her lead actors, Peter Falk and John Cassavetes, thrived under her unorthodox directing style, earning acclaim even from reviewers who hated the movie. Decades in the making—years of scriptwriting, a shoot that spanned ten months, and three years spent editing—Mikey and Nicky shows us what Hollywood cinema can accomplish when talented filmmakers challenge Hollywood’s limited notion of professionalism, rejecting the harsh time pressures of commercial filmmaking in order to get the most out of every scene.

Eating Grasshoppers: Chapulines and the Women Who Sell Them (U Texas Press, 2025) is an approachable ethnography of how grasshoppers are harvested, sold, and consumed in Oaxaca. Chapulines (toasted grasshoppers) are not a delicacy in Oaxaca. They are just food—good food—and a protein-rich seasonal snack that is the product of a long-standing industry based overwhelmingly on the labor of women. Jeffrey Cohen has interviewed dozens of these chapulineras, who harvest insects from corn and alfalfa fields, prepare them, and sell them in urban and rural marketplaces. An accessible ethnography, Eating Grasshoppers tells their story alongside the broader history of chapulines. For tourists, chapulines are an experience—a gateway to the “real” Oaxaca. For locals, they are ordinary fare, but also a reminder of Indigenous stability and rural survival. In a sense, eating chapulines is a declaration of independence from a government that has condemned eating insects as backward. Yet, while chapulines are a generations-old favorite, eating them is not an act of preservation. Cohen shows that the business of this traditional food is thoroughly modern and ever evolving, with entrepreneurial chapulineras responding nimbly to complex and dynamic markets. From alfalfa fields to online markets, Eating Grasshoppers takes readers inside one of the world’s most fascinating food cultures. Jeffrey H. Cohen is a professor in the department of anthropology at Ohio State University and the author or coeditor of several books, including Eating Soup without a Spoon: Anthropological Theory and Method in the Real World (UT Press, 2015). Yadong Li is an anthropologist-in-training. He is a PhD candidate of Socio-cultural Anthropology at Tulane University. More details about his scholarship and research interests can be found here.

El Salvador Reborn: Abortion, Environment, and the Politics of Survival in a Postwar Nation ( examines the nation’s efforts to reshape its identity after the Peace Accords amid declining Cold War tensions. The book explores activism in postwar El Salvador by focusing on two key organizations, Agrupación Ciudadana por la Despenalización del Aborto and Foro del Agua, highlighting their political strategies during a critical moment in El Salvador’s formation.

From the Pulitzer Prize-winning author of Franchise comes How Bright the Path Grows: The Untold Story of the Women Who Made the March on Washington (Pantheon, 2026), the untold story of the pioneering Black women artists and activists who were seen, but barely heard, at the 1963 March on Washington. There is no shortage of footage immortalizing the men who spoke at the 1963 March on Washington for Jobs and Freedom, when 250,000 Americans gathered beneath the Lincoln Memorial to call for an end to segregation. There were reverends and rabbis, activists and Rat-Pack icons—and of course the day's headliner, whose prophetic dream of a post-Jim Crow world has forever defined the Civil Rights Movement. But there is no “class photo” of the Black women who helped organize the march, performed on its main stage, or were honored during its Tribute to Negro Women Fighters for Freedom. In How Bright the Path Grows, Marcia Chatelain weaves a gleaming group portrait of these singular women. Among this cohort were several household names: vaudeville icon Josephine Baker, civil rights activist Rosa Parks, gospel legend Mahalia Jackson, and Daisy Bates, champion of the Little Rock Nine. But many were relative unknowns, including Eva Jessye, the choir director who designed the day’s musical program; and Anna Hedgeman, the coordinator who pushed in the eleventh hour for a tribute to Black women’s work. How Bright the Path Grows is a scintillating group biography, rendering the lives of thirteen Black women visionaries—some famous, others soon to be—in novelistic detail and like never seen before. Kishauna Soljour is an Assistant Professor of Public Humanities at San Diego State University. Her most recent writing appears in the edited collection: From Rights to Lives: The Evolution of the Black Freedom Struggle.