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April 19 @ 7:30 pm - 9:00 pmFree
Joanna Scutts discusses her new book, The Extra Woman: How Marjorie Hills Led a Generation of Women to Live Alone and Like It.
Praise for The Extra Woman
“The fascinating and formidable Marjorie Hillis has at last found her rightful biographer, champion, and exegete in Joanna Scutts. This is a beautifully written, insightful, and wise account of the life and work of an important but heretofore largely unremembered writer, wit, and proto-feminist.” — Rosie Schaap, author of Drinking with Men
“Long before Girls, Carrie Bradshaw, and Mary Tyler Moore, Marjorie Hillis inspired women to live more independently as ‘Live-Aloners,’ and she deserves more recognition than she gets. Joanna Scutts’ account of Hillis and the cultural transformations she made possible is as witty, forthright, and elegant as its subject.” — Lauren Elkin, author of Flâneuse
“Scutts should feel proud that she did what she set out to do: return Hillis to her rightful place in the pantheon of women who made it possible for the rest of us to enjoy that freedom. ‘Recovering the spirit of daring that defined the Live-Alone heyday can remind us that a different story is always possible,’ Scutts writes, ‘and might just inspire us anew, to resist and rebel against convention, and to fight to create the life we really want.’ Here’s hoping every reader has the chance to do just that.” — Ellen McCarthy, Washington Post
About The Extra Woman
From the flapper to The Feminine Mystique, a cultural history of single women in the city through the reclaimed life of glamorous guru Marjorie Hillis.
You’ve met the extra woman: she’s sophisticated, she lives comfortably alone, she pursues her passions unabashedly, and—contrary to society’s suspicions—she really is happy. Despite multiple waves of feminist revolution, today’s single woman is still mired in judgment or, worse, pity. But for a brief, exclamatory period in the late 1930s, she was all the rage. A delicious cocktail of cultural history and literary biography, The Extra Woman transports us to the turbulent and transformative years between suffrage and the sixties, when, thanks to the glamorous grit of one Marjorie Hillis, single women boldly claimed and enjoyed their independence.
Marjorie Hillis, pragmatic daughter of a Brooklyn preacher, was poised for reinvention when she moved to the big city to start a life of her own. Gone were the days of the flirty flapper; ladies of Depression-era New York embraced a new icon: the independent working woman. Hillis was already a success at Vogue when she published a radical self-help book in 1936: Live Alone and Like It: A Guide for the Extra Woman. With Dorothy Parker–esque wit, she urged spinsters, divorcées, and “old maids” to shed derogatory labels and take control of their lives, and her philosophy became a phenomenon. From the importance of a peignoir to the joy of breakfast in bed (alone), Hillis’s tips made single life desirable and chic.
In a style as irresistible as Hillis’s own, Joanna Scutts, a leading cultural critic, explores the revolutionary years following the Live-Alone movement, when the status of these “brazen ladies” peaked and then collapsed. Other innovative lifestyle gurus set similar trends that celebrated guiltless female independence and pleasure: Dorothy Draper’s interior design smash, Decorating Is Fun!transformed apartments; Irma Rombauer’s warm and welcoming recipe book, The Joy of Cooking, reassured the nervous home chef that she, too, was capable of decadent culinary feats. By painting the wider picture, Scutts reveals just how influential Hillis’s career was, spanning decades and numerous best sellers. As she refashioned her message with every life experience, Hillis proved that guts, grace, and perseverance would always be in vogue.
With this vibrant examination of a remarkable life and profound feminist philosophy, Joanna Scutts at last reclaims Marjorie Hillis as the original queen of a maligned sisterhood. Channeling Hillis’s charm, The Extra Woman is both a brilliant exposé of women who forged their independent paths before the domestic backlash of the 1950s trapped them behind picket fences, and an illuminating excursion into the joys of fashion, mixology, decorating, and other manifestations of shameless self-love.