Feminism and Religion

May Alcott Nieriker (1840-1879): Little Woman, Big Ambition, part 2 by Maria Dintino

Part 1 was posted yesterday

May clearly defines her audience,

“For I am supposing our particular artist to be no gay tourist doing Europe according to guide-books, with perhaps few lessons, here and there, taken only for the name of having been a pupil of some distinguished master, but a thoroughly earnest worker, a lady, and poor, like so many of the profession, wishing to make the most of all opportunities, and the little bag of gold last as long as possible”(6).

In her book, she covers three art hubs, London, Paris, and Rome, providing information on means of travel, places to stay, artists to study with, galleries and museums to frequent, scenic sites for sketching and painting, and even stores to buy art supplies and clothing. A more useful document, I cannot imagine! Julia Dabbs concurs with this assessment in her article Empowering American Women Artists: The Travel Writings of May Alcott Nieriker:

“Then as now, it is difficult to imagine a reader not being inspired by May’s words of encouragement, her practical advice, and her passion for art.”

May Alcott Nieriker (1840-1879): Little Woman, Big Ambition, part 1 by Maria Dintino

Moderator’s Note: This piece is in co-operation with The Nasty Women Writers Project, a site dedicated to highlighting and amplifying the voices and visions of powerful women. The site was founded by sisters Theresa and Maria Dintino. To quote Theresa, “by doing this work we are expanding our own writer’s web for nourishment and support.” This was originally posted on their site on Oct 22, 2024. You can see more of their posts here.

The Orchard House, painted by May Alcott.

The youngest sister of Little Women author Louisa May Alcott, May Alcott Nieriker, was a successful artist. Her accomplishments were many and her unflappable relationship with her sister Louisa made it all possible. Here’s to sisterhood of all kinds, where unwavering love and support make so much possible!

Visiting the literary houses lining the streets of Concord, Massachusetts, I found myself in the Orchard House, a house and family made famous by Louisa May Alcott’s blockbuster novel Little Women (1868).

Entering an upstairs bedroom, I was struck by the artwork on the walls and was told it is the work of May, the youngest Alcott sister, Amy in Little Women. Her parents, progressives in their time, allowed her to paint and sketch on her bedroom walls. I was informed that most of the artwork displayed in the house is also that of May’s.

My curiosity was stoked: Who was this woman?

Um, You Were So Happy by Vibha Shetiya

“We were so happy,” he said, emphasizing the so.

Her thoughts flashed back to that car ride. Hearing that an acquaintance was taking the GRE, she had half-jokingly quipped – “Maybe I should too.” He responded: “You should. You don’t know anything about life. Your life consists of your parents and brother and a handful of friends. It’s time you learned what it really was about,” this time stressing the really. The next few months were spent prepping for entrance exams and sending out grad school applications. Within six months, she was in the US of A.

She couldn’t believe it. She had been trapped for nearly two decades. As a child, she had had no choice. As an adult, it was too late; the indoctrination of being in a family cult had left her completely alienated; she was a stranger to herself. Marriage took on another dimension. Any chance of deprogramming was replaced by degrading, the methods remaining the same though; browbeating and gaslighting as a time-tested and guaranteed method of emotional torment never disappointed.

Earthprayer, by Molly M. Remer

Sometimes I describe my work and writing as “a love song to the Ozarks.” I am deeply embedded, body and soul, in this land that I come from, my bloodland, the place where I belong. Seven generations of my family have called these wooded hillsides and stony ridgetops home. This is my mystery school, where I explore hundreds of ways to kneel and kiss the earth.

The Earth is my teacher
I shall always want
I witness her still meadows
She leadeth me to green pastures
She restoreth my soul
On tree covered hills
She reminds me I am home
and, yea, I walk in her valleys
and I fear no suffering
She is with me
Her mountains and rolling rivers
they comfort me joy bubbles through my veins
and enlivens my footsteps
my cup runneth over
truly I stand
in mysterious awareness
all the days of my life
and She holds me
in the palm of her hand
forever.

NPR meets My Telepathic Bird Lily b, part 1 by Sara Wright

I begin this story with a vignette and an invitation to meet my current family. This morning my four -pound Chihuahua made her usual rounds and ended up in the bathroom where my 3O plus year old African Collared Dove, a free flying house bird has a roost and his very own plant window. Lily b had flown onto the floor and was visiting with Coalie.

The first time I witnessed this exchange between bird and dog I instinctively swept Lily off the floor and deposited him on his perch, feeling relieved no damage had been done, though oddly Lily b was not the least bit agitated. A few days later I discovered him on the kitchen floor as Coalie was backing him into a corner. Or was she? Lily b was initiating these exchanges, so I was baffled.

Every morning Coalie stops by to see if Lily b is perched on his basket. They exchange salutations meeting eye to eye before Coalie moves on unless Lily flies down. It is impossible not to conclude that these two are engaging in some kind of play on days they meet on the floor. If Coalie can’t resist pulling at one of Lily’s feathers, he promptly spreads out a wing using it as a shield to block her. Back off he says and she does! Lily b never flies away.

The Legacy of Carol P. Christ: Anger is Not a Panacea: The “Next Stage” after Rage

This was originally posted August 18, 2104.

In a recent post Xochitl Alvizo cited Beverly Harrison’s much-loved essay “Anger as a Work of Love.” Harrison captured feelings that were in the air at the time of its writing several decades ago. Women were laying claim to the right to be angry at the silencing of our voices, the double standard, the media portrayal of women, income inequality, lack of access to good jobs, failure to prosecute rape and domestic violence, and a host of other injustices.

Most of all we were protesting the cultural stereotype that the “good woman” (understood to be white, Christian, and married or hoping to be) would not protest loudly or at all, would turn the other cheek, and would think about others rather than herself. (Jewish women and black women had to strive doubly hard to “live up” to this standard, as it was assumed that Jewish women were “overly assertive” and that black women were “too strong” and often “angry.”)

In this context Harrison’s essay and Mary Daly’s epithet “rage is not a stage” gave women—especially white women–permission to get in touch with our feelings of anger and to express them. We understood that “good women” had been hiding and repressing their feelings for centuries if not millennia with the result that the structures of injustice remained intact.

Crushed by Design: Structural Crises and Inequitable Policies Push Female-Headed Households to the Edge, part 2 by NCRI

Part 1 was posted yesterday

The Impact of War

War has led to an increase in the number of female-headed households, as many men are killed, go missing, or are forced to migrate. This situation has, more than ever, resulted in a surge in poverty, economic instability, and severe psychological pressure among these women.

In wartime conditions, female heads of household face multifaceted crises. Given that the majority of them are engaged in informal and home-based occupations (such as knitting, tailoring, and food production), the war has dealt a direct blow to their family income by closing marketplaces, disrupting supply chains for raw materials, and reducing the purchasing power of customers.

According to a report by one of the state websites, passengers in a Tehran metro carriage, in response to the street vendors’ advertisements, say they have no money. According to this report, the faces of the female vendors are exhausted. Some of them are over sixty years old and plead with people to buy their goods. (Shafaqna, October 6, 2025)

Crushed by Design: Structural Crises and Inequitable Policies Push Female-Headed Households to the Edge, part 1 by NCRI

Moderator’s Note: This post has been posted in cooperation with the NCRI women’s committee. NCRI stands for the National Council of Resistance of Iran. This was first posted on their website on May 18, 2026. You can learn more information as well as see this original article by clicking by link below. A description of their Council can be found at the end of this post. We feel it is especially important to hear women’s voices from Iran esp here in the United States where a lot of misinformation is being disseminated along with the guns and bombs of war.

Introduction

Life for the Iranian people under the religious dictatorship is fraught with hardship and peril from every perspective. Whether through the lens of economic deprivation, poverty, and unemployment; the degradation of the environment and infrastructure; crises involving water, electricity, and air pollution; or devastating floods and earthquakes—the current generations of Iranians are experiencing a living hell. This suffering is further compounded by the comprehensive violation of human rights, characterized by suppression, torture, and executions, as well as the squandering of national wealth on nuclear and missile projects and terrorism, which has effectively led to foreign conflict.

Nature and the Body Were Never the Enemy

Reflecting on the contradictions of modern life, this essay explores how both wilderness and female embodiment became culturally suspect within Western thought. Drawing on themes of estrangement, relational ontology and kinship, it considers how practices of attention, presence and nature connection may help us return to a deeper sense of belonging.

Witchcraft as Spiritual Activism by Freia Serafina and Amie Ritchie

“Spiritual activism is spirituality for social change, spirituality that posits a relational worldview and uses this holistic worldview to transform one’s self and one’s worlds.” – AnaLouise Keating

Spiritual activism offers vital pathways for community care, resistance, and personal transformation and can take many forms. The same is true of witchcraft practices, which can follow a specific lineage, synthesize traditions, be practiced solo, be co-created in a coven of witches, and more. In this article, we’re reflecting on witchcraft as a form of spiritual activism, and approaching both in the most general terms as a starting point. We hold the works of Gloria Anzaldúa, Rachel Ricketts, Starhawk, and many others, including our fellow witches, as influential and present in our thinking. Furthermore, we view witchcraft as an act of cultural, spiritual, and feminist reclamation, enabling us to carry our ancestors into the future.

*Amie’s ocean ritual for the people of Palestine*.

We arrive to the conversation as scholar practitioners, feminists, and co-facilitators of Witch Workshops. Amie is a European-descendant woman of Irish and Scottish ancestry whose work lives at the intersections of decolonizing human-water relationships, spiritual ecology, and healing-centered education. Freia is a European-descendant woman of Norwegian, Irish, and Sámi ancestry whose work seeks to heal colonial ruptures around Indigenous and matrilineal ways of knowing and being through ritual, art, and storytelling. We share these personal details as a way of sharing the standpoints that inform our views, which will of course be different from others. Hopefully our small offering can spark a conversation and ignite more witches into considering themselves spiritual activists, or vice versa.