Blog #10c The Women paper

The Women: A Feminist’s View of Marriage and Divorce By Clare Booth Luce Shagun Bhardwaj, Matt Hauer, Gabrielle Honda, Hailey Spencer, Zoe Storch, Richard Wu Ms. Nicole Wilson AP British and World Lit A 30 October 2013 1987. Some novels and plays seem to advocate changes in social or political attitudes or in traditions. Choose such a novel or play and note briefly the particular attitudes or traditions that the author apparently wishes to modify. Then analyze the techniques the author uses to influence the reader’s or audience’s views. Avoid plot summary. I have read and understand the sections in the Student Handbook regarding Mason High School's Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a "0" on the paper, as well as an "F" as a final grade in the course. Rationale In order to effectively capture and exemplify the theme of The Women by Clare Boothe Luce, we decided to utilize the 1987 prompt due to its discussion of societal attitudes towards norms, and how the author seems to oppose or seek to change them. In accordance with the prompts assertion, The Women discusses the traditional nature of a woman’s standing in the early twentieth century, as they were looked strictly as housekeepers and child-bearers. As a group we saw the ironic complexity Luce used in her writing, which overall illuminated the contrasting roles of men and women in society at the time. By choosing the 1987 prompt, our group was best able to address and capture the essence of The Women in the representation of our project. The specific scenes were chosen because they were not only crucial plot moments, but because they also showed varying views about marriage and a woman’s role among the conversations and interactions between the various women in the play. The scenes showed the inside workings of 1900s society and the roles and expectations certain groups were supposed to fill, in this case the high-society women on New York. These specific scenes showed the relationship between the different women and how they changed the way they interacted based on who they were around. The scenes show conversations with and without Mary, the inside feelings of the different women, and what they believe Mary should do in her situation. In our short film, we chose to adapt the setting to the play to the best of our abilities. We started off with very short (transition) scene not in the play to help introduce the audience to the plot. Two ladies at a nail salon are gossiping about what happened to Mary, and then the flashback starts.We chose to start our movie like this as it not only helps the audience acclimate to the story, it also introduces a major concept of the play: gossip. We created a similar setting and used older style dresses and accessories to adapt to the 1930s fashion. We manipulated the setting to match that of the script and also altered the background music and sounds to go along with as, as can be seen through the nail salon scenes. We also altered the locations of the variety of scenes to show different settings and places in the play. Our stylistic choices bring our play to life. The Women (1936) Author: Clare Booth Luce · Born in NYC March 10, 1903 · As a young woman, very active in the women’s suffrage movement · 1929- divorced George Brokaw (alcoholic) · 1930- became associate editor for Vanity Fair, but resigned to become a playwright · 1942-involved in wartime politics and was elected as representative to Congress (CT) · 1944- car crash killed her only child (Ann, 19)z · Instrumental in establishing the Atomic Energy Commission · appointed U.S. Ambassador to Italy (one of first American woman to represent U.S. to a world power) · 1981- appointed by Reagan to President’s Foreign Intelligence Advisory Board · 1983- received Presidential Medal of Freedom · Died Oct. 9th, 1987 (age 84) - the majority of her estate went to funding women’s achievement in science, math, and engineering Synopsis: During the height of the Great Depression in New York City, the main character, Mary Haines, learns that her husband, Stephen, is having an affair with a shopgirl named Crystal. Mary and other friends seeking divorces go to Reno, Nevada where divorces are easily attainable. While in Reno, Mary hears that Crystal and Stephen have gotten married. Two years later, Mary is back in New York with her children. When she learns that Crystal is cheating on Stephen, Mary devises a plan to expose Crystal’s infidelity in order to win back her husband. Historical Context By 1936, women had only had voting rights for sixteen years (1920) Women’s roles were still very limited Great Depression (1919-1939) Primary characters: Mary (Mrs. Stephen Haines)- protagonist, graceful, faithful in her marriage; seeks divorce, then seeks to remarry her ex-husband Crystal Allen- Stephen’s mistress and perfume salesperson; blonde bombshell, often classless and rude, takes advantage of Stephen for his money Sylvia (Mrs. Howard Fowler)- biggest gossip and troublemaker of the group, disloyal in her marriage Mary and Sylvia’s Circle of Friends: Miriam, Peggy, Edith, Countess De Lage Setting: The majority of the play takes place in high-status New York City as well as in the female-dominated areas (beauty parlor, clothing stores, characters’ homes ) that are popular to its wealthy inhabitants. For a short scene, the women are in Reno and then brought back again to formal parties of New York. Key Plot Moments • Mary goes to the hairdresser and learns from Olga (a manicurist suggested by her friends for her knowledge) that her husband is having an affair with a shopgirl named Crystal. • Mary and Sylvia are in the dressing rooms of a dress shop when they realize that Crystal is in the adjacent dressing room. Mary confronts Crystal. • After news of Stephen’s affair becomes common knowledge among other socialite women, Mary makes the decision to divorce Stephen. ( It is important to note that the woman seeking divorce is unheard of in the time of the novel.) • A group of divorced women (including Mary and Sylvia) travel to Reno, Nevada to take advantage of the liberal divorce laws. There, Mary finds out that Stephen intends to marry Crystal. • When Mary returns to New York, she discovers that Crystal is cheating on Stephen. • In the final scene, Mary goes with some of her friends to an evening party where she confronts Crystal in the powder room, reveals her plan to publicize Crystal’s affair, and finally leaves to meet Stephen and win him back. Key Quotes • “After all, this is a man’s world. The sooner our girls are taught to accept the fact graciously--” Miss Fordyce (Little Mary’s nanny) • “Damn these modern laws! […] Fifty years ago, when women couldn’t get divorces, they made the best out of situations like this.” – Mrs. Morehead (mother of Mary Haines) • “Lopsided amour is better than no amour at all. Flora, let him make a fool of you. Let him do anything he wants, as long as he stays. He’s taking the trouble to deceive you.” – Mary (final scene) • “It don’t matter what he’s got in his mind. It’s what those two women [Mary and Crystal] got in theirs that will settle the matter.” – Maggie (Mary Haines’ cook) Symbols/Motifs Jungle red nailpolish- represents the animosity and passion that is associated with the color red (appears in both the beginning and ending scenes of the play) – animalistic Card game (bridge)- symbolizes the game-like relationship between women- can’t trust one another, always bluffing each other, never know what they’re hiding. pg 676 “Well, I’ve had two years to sharpen my claws. Jungle-red, Sylvia! Goodnight, ladies!” (Mary) Dress in clothing shop- both Mary and Crystal are eyeing the same dress (like they’re eyeing the same man)-dress begins in Mary’s dressing room, then brought over to Crystal’s (like Stephen) pg 623 “This isn’t her type. That isn’t her type.” Character names- Crystal’s name reflects her capricious, superficial nature. Sylvia’s surname, Fowler, draws parallels between her personality and the behavior of domestic birds, most notably the chicken. Themes Feminism - Shows the injustice of womens’ inability to simultaneously hold both pride and power in a marital relationship The “Ideal Woman” - Every character has a unique description of the Ideal Woman. Marriage and Divorce - purpose of marriage; questions whether women are entitled to seek divorce ( was newly accessible for women) Socioeconomic classes & beauty standards - as they relate to social expectations Stylistic Devices - Horatian Satire - Use of period vernacular - Foils of characters to highlight contrasting philosophies and create dynamic interactions - Only female characters portrayed to empower women by focusing on their own perceptions of the social issues that affect them -Catchphrases to further dramatize characterization and emphasize drastically different views on womanhood, marriage -Sylvia: “After all I’ve done for you!” -Mary and her daughter Little Mary: “Mother” in nearly every sentence addressing their respective mothers The Women By: Clare Boothe Luce Cast: Zoe Storch: Agatha, Miriam, Nancy Hailey Spencer: Marge,Olga, Lucy Matt Hauer: Mary Haines, Peggy Shagun Bhardwaj: Manicurist, Countess De Lage Richard Wu: Sylvia Introduction with Thesis: Originally opening as a Broadway play starring the famous faces of the day, The Women featured an all-female cast and was liberal its ideas concerning marriage and divorce. In this 1936 play by Clare Booth Luce, the institution of marriage is dramatized and satirized in order to assert Luce’s belief that women are entitled to holding both pride and power in a marital relationship. Horatian satire and character foils illuminate Booth’s frustration that even when women are legally able to achieve freedom from marriage, women are pressured back into its restrictions because the only way to attain social grace is to accept the low status of the married woman. Opening Transition Scene: Marge. No, no I’ve despised the color red my whole life, why would I want it smothered on ten of my fingers? Manicurist (softly). Sorry, ma’am. (exits) Agatha. It’s impossible to get a good worker nowadays, isn’t it? Marge. My thoughts exactly -ouch, ouch! My hair’s on fire, Agatha. (removes hair dryer) Agatha. Quiet down, you old bat. I just read the most outrageous thing in the gossip column. Do you know Mary Haines? Marge. Oh, I’ve known about her husband’s affair for days. Agatha. Oh, spit it out, I want to know everything! Marge. Well, it all started in a small downtown salon, quite like this one actually... Act I Scene II [Michael’s Hair and Nail Salon] Olga. Know Mrs. Potter? She’s awful pregnant-- Mary (she wants to read). I know. Olga. Soak it, please. (Puts Mary’s hand in water. Begins on other hand) Know Mrs. Stephen Haines? Mary. What? Why, yes I-- Olga. I guess Mrs. Fowler’s told you about that! Mrs. Fowler feels awfully sorry for her. Mary (laughing). Oh, she does! Well, I don’t. I-- Olga. You would if you knew this girl. Mary. What Girl? Olga. Crystal Allen. Mary. Crystal Allen? Olga. Yes, you know. The girl who’s living with Mr. Haines. (Mary starts violently) Don’t you like the file? Mrs. Potter says it sets her unborn child’s teeth on edge. Mary (indignant). Whoever told you such a thing? Olga. Oh, I thought you knew. Didn’t Mrs. Fowler--? Mary. No-- Olga. Then you will be interested. You see, Crystal Allen is a friend of mine. She’s really a terrible man-trap. Soak it, please. (Mary, dazed, puts her hand in the dish) She’s behind the perfume counter at Saks’. So was I before I got fi-left. That’s how she met him. Mary. Stephen Haines? Olga. Yeah. It was a couple a months ago. Us girls wasn’t busy. It was an awful rainy day, I remember. So this gentleman walks up to the counter. He was the serious type, nice-looking, but kind of thin on top. Well, Crystal nabs him. “I want some perfume,” he says. “May I ask what type of woman for?” Crystal says, very Ritzy. That didn’t mean a thing. She was going to sell him Summer Rain, our feature anyway. “Is she young?” Crystal says. “No,” he says, sort of embarrassed. “Is she the glamorous type?” Crystal says. “No, thank God,” he says. “Thank God?” Crystal says and bats her eyes. She’s got those eyes which run up and down a man like a searchlight. Well, she puts perfume on her palm and in the crook fo her arm for him to spell. So he got to smelling around and I guess he liked it. Because we heard him tell her his name, which one of the girls recognized from Cholly Knickerbocker’s column--Gee, you’re nervous-- Well, it was after that I left. I wouldn't of thought no more about it. But a couple of weeks ago I stopped by where Crystal lives to say hello. And the landlady says she’d moved to the kind of house where she could entertain her gentleman friend--”what gentleman friend?” I says. “Why, that Mr. Haines that she’s had up in her room all hours of the night,” the landlady says--Did I hurt? (Mary draws her hand away) One coat, or two? (Picks up a red bottle.) Mary. None. (Rises and goes to the chair, where she has left her purse.) Olga. But I thought that’s what you came for? All Mrs. Fowler’s friends-- Mary. I think I’ve gotten what all Mrs. Fowler’s friends came for. (Puts a coin on the table.) Olga (picks up coin). Oh, thanks-- Well, good-bye. I’ll tell her you were in Mrs. --? Mary. Mrs. Stephen Haines. Olga. Mrs. --? Oh, gee, gee! Gee, Mrs. Haines--I’m sorry! Oh, isn’t there something I can do? Mary. Stop telling that story! Olga. Oh, sure, sure, I will! Mary. And please, don’t tell anyone-- (Her voice breaks) that you told it to me-- Olga. Oh I won’t gee, I promise! gee, that wouldn’t be kind of humiliating for you! (Defensively) But in a way, Mrs. Haines. I’m kinda glad you know. Crystal’s a terrible girl--I mean, she’s terribly clever. And she’s terribly pretty, Mrs. Haines--I mean, if I was you I wouldn’t waste no time getting Mr. Haines away from her-- (Mary turns abruptly away) I mean, now you know, Mrs. Haines! Voice. So she said: “I wouldn’t want anybody in the world to know,” and I said: “My dear, you know you can trust me!” Act II Scene V [ A Hotel in Reno (Post- Divorce)] A few weeks later. MARY’S living room in a Reno hotel. In the rear wall, a bay window showing a view of Reno’s squat rooftops and distant Nevada ranges. Left, doors to the kitchenette, the bedroom. Right, a door to the corridor. A plush armchair, a sofa. In the corner, MARY’S half-packed trunks and bags. It is all very drab and ugly. As the curtain rises, LUCY, a slattery, middle-ages, husky woman in a house-dress, is packing the clothes that are strewn on the armchair and the table. She is singing in a nasal falsetto. (Enter COUNTESS DE LAGE, left, She is a silly, amiable, middle-aged woman with carefully-waved, bleached hair. She wears a gaudily-checked riding habit, carries an enormous new sombrero and a jug of corn liquor.) COUNTESS. I’ve been galloping madly over the desert all day. Lucy, here’s a wee juggie. We must celebrate Mrs. Haines’ divorce. PEGGY. Oh, Countess de Lage, I don’t think a divorce is anything to celebrate. COUNTESS. Wait till you’ve lost as many husbands as I have, Peggy. (Wistfully) Married, divorced, married, divorced! But where Lord leads I always follow. So here I am, in Reno. PEGGY. Oh, I wish I were anywhere else on earth. COUNTESS. My dear, you’ve got the Reno jumpy-wumpies. Did you to the doctor? What did he say? PEGGY. He said it was - the attitude. COUNTESS. Well, la, la, you’ll get used to that. My third husband was a Swiss. If one lives in Switzerland, Peggy, one has simply got to accept the Alps. As I used to say to myself, Flora, there those damn Alps are, and there's very little even you can do about it. PEGGY. Yes, Countess de Lage. (Exits, hurriedly, left.) COUNTESS. Ah, I wish she hadn’t brought up the Alps, Lucy. It always reminds me of that nasty moment I had the day Gustav made me climb to the top of one of them. (Sits in armchair) Lucy, pull off my boots. (LUCY kneels, tugs at her boots) Anyhow, there we were. And suddenly it struck me that Gustav didn’t love me any more. (Gaily) But Love takes care of its own, Lucy. I slid right into the arms of my fourth husband, the Count. LUCY (rises, with boots). Ain’t that the one you’re divorcing now? COUNTESS. But, of course, Lucy. (Plaintively) What could I do when I found out he was putting arsenic in my headache powders. Ah! L’amour! L’amour! Lucy, were you ever in love? LUCY. Yes, ma’am. COUNTESS. Tell me about it, Lucy…(she’s cut off in the middle of her question) (enter Miriam) Miriam. Hya Countess, how’s rhythm on the range? Countess. Gallop, gallop, gallop madly over the sagebrush. But now Miriam, I’m having an emotional relapse. In two weeks I’ll be free. But whither, oh whither shall I fly? Miriam. To the arms of that cowboy up at the dude ranch? Why, he’s nuts for you, Countess. He likes you better than his horse, and it’s such a damn big horse. Even Mrs. Astor would have to admit Buck’s handsome. If I had your dough, I’d take him to Hollywood first, then Newport. (enter Sylvia) Miriam. Hya, Sylvia. Going to a ball? Sylvia. Doing the town with a boyfriend. I’m not going to sit around moping, like Mary. Countess. Poor Mary. If her husband gave her the flimsiest excuse, she’d take him back. Sylvia. She has no pride. I’d roast in hell before I’d take Howard Fowler back. Countess. Helas, what else can a woman do with her youth, but give it to a man? (enter Mary) Miriam. Hy’a queen? Mary. Fine. Miriam. Ya lie. Mary (gives a letter to Sylvia, glancing at the inscription) For you Sylvia, from Edith. Sylvia. You couldn’t miss that infantile handwriting. You didn’t hear from anyone? Mary. No. Sylvia. Well, darling, Stephen’s hardly worth a broken heart. Mary. The less you have to say about Stephen and me the better I like it! Sylvia. I’m only trying to cheer you up. That’s more than you do for me. Miriam. Hey Sylvia, we’re all here in the same boat. Mary’s laid off you, why don’t you lay off her? Sylvia. Oh, I’m just trying to make her life seem like it isn’t over just because Stephen let her down. (picks up press clippings in newspaper and reads them) Countess (looks over Sylvia’s shoulder at clippings). Miriam, you sly puss, you never told us you even knew Sylvia’s husband. Listen to this (takes paper) “Miriam Vanities Aarons. Prominent Stockbroker, Fowler, and Aarons to marry.” Miriam. Why you little hypocrite! Mary. Now, Sylvia. Sylvia(at Miriam) you want him for his money. Miriam. So what do you want him for? I’ll stay bought. Thats more than you did Sylvia. Sylvia. Why, you dirty little trollop! (Sylvia gives Miriam a terrific smack. In the twinkling of an eye, they are pulling hair, Mary seizes Sylvia’s arm. The countess tugs at Miriam’s belt. The stop fighting and Sylvia exits for the smelling salts) Countess. Poor Creatures. They’ve lost their equilbrium becuase they’ve lost their faith in love. (phone rings) Mary. (goes to get it) Hello-hello? Stephen? Mary. Yes. I’m very cheerful. It’s so good to hear your voice, Stephen. I-why yes, it’s scheduled for tomorrow at 10 but---Stephen i can (frightfully)- but Stephen! I haven’t seen the papers. How could I out here? Yes, I’d rather you told me. Of course I understand the position you’re both in. No, I’m not bitter. I hope you’ll both be very happy. Good bye, Stephen, Good-bye- Miriam. He’s marrying her? Mary. We had a good life, oh God I’ve been a fool! Miriam. Sure you have, haven’t we all sister? Mary. But she doesn’t love him. I do. That’s the way it is. (she goes to the window and looks out). But it’s not ended if your heart doesn’t say so. It’s not ended! Act III Scene III [The Powder Room- Two Years Later] Later, the same night. The Powder Room at the Casino Roof. The decoration is rich, tawdry and modernistic. Right, a swinging door from the lobby. Left, another to the washrooms. The rest of the wall space, left and right, is taken up by counter-like dressing tables and mirrors. The rear wall is a great window overlooking the glitter of midnight Manhattan. An overstuffed sofa and an armchair upholstered in modernistic fabric. Near the door, right, a screen hides the coat-rack. By this, a chair for Sadie, a little old woman in a black’s maid’s uniform and apron. As the curtain rises, Sadie is reading a tabloid, which she puts down when two flashily-dressed girls enter from the lobby. Countess (tacking). How could Buck do such a thing to me! Oh, the Dr. Jekyll! The Mr. Hyde! Which was which? Miriam. Pipe down or you’ll put an awful dent in his career, Flora. Countess. What of my career? I’ve had five husbands. Buck’s the first one who ever told me what he really thought of me--in public. Nancy. It takes all kinds of husbands to round out a career like yours, Flora. Countess. He told me he'd been deceiving me for months. Right in the middle of the Organ-Grinder. (Kicks off shoes) Oh, I feel so--superfluous! Miriam (to Sadie). A bromo-seltzer. Countess. Bromo-seltzer? Qu’-est-que c’est que ca? Nancy. It will settle your--superfluity. Flora, did he tell you the lady’s name? Countess (indignant). Certainly not, nancy. He’s not that drunk. Miriam (as Sadie exists, right). And another drink for Mrs. Winston! Countess. No, Mariam. He wouldn’t tell me her name, because she’s a married woman. Buck is a very proletarian, but he’s not a bounder. He just said she was a natural blonde. Nancy. That ought to narrow down the field considerably. Countess. He said she was pretty as a painted wagon. Miriam. Oh, you’re not such a bad calliope. Snap out of it, Flora. You know, you’re going to forgive him. ( wave and Exit Miriam) Countess (firmly). I’d forgive unfaithfulness, but not base ingratitude. I rescued him from those prairies. I married him. What thanks do I get? (Wailing) He says he’ll be a cockeyed coyote if he’ll herd an old beef like me back to the coast! Nancy. Let this be your lesson. Don’t let your next husband become financially independent of you. Countess. Now, don’t lecture me, Nancy. Every time I marry I learn something. This has taught me once and for all--you can’t expect noblesse oblige from a cowboy-- (Sitting up) Ohhh, my eyes! They’re full of mascara. Nancy (helping her off the couch.). We’ve got to get her home. (enter Mary pulling Miriam by the arm) Miriam (protesting). Crystal’s not in here. I don’t think she’s in the joint. Mary. She’s coming. I know it. Miriam. So what are you doing to do when you find her? (Sadie takes mary’s wrap.) Mary. I don’t know. But I’ve got to find her tonight. Buck’s going to Hollywood in the morning. Miriam. Say, why don’t you settle this matter with Stephen? Mary. I have no proof, I tell you! But if Buck is a drunk as you say, he’ll give away something. miriam. Listen, he’s been trying all night to give FLora away to the doorman. Got a twenty-dollar bill? Mary. Yes. Miriam. That’ll lock him in the men’s room till we need him. (Exists, right, with Mary, as enter, left, the two Society Women. They cross the stage.) (enter Sylvia and Crystal) Sylvia. (they go to mirror, left). Stephen is in a mood. Crystal. Is my mouth on straight? Sylvia. Crystal, you didn’t come here to see somebody did you? Crystal. Oh sylvia, can’t you lay off that for a minute? (enter mary and miriam) Mary. Mrs. Haines this is a great pleasure! Crystal (turning) I beg your pardon. Mary. Such a lovely party! I was afraid you weren’t coming. (introducing Crystal and Miriam,, Miriam and sylvia) Mrs. Fowler, Mrs.Haines, Mrs. Fowler, Mrs. Fowler) Sylvia. Mary when did you begin drinking? Mary (to Crystal) Early in the evening, with Mr. Winston. You know Mr. winston don’t you? Crystal. I’m afraid I don’t Mary. Well he’s in the lobby now, waiting for someone, Mrs. Haines, and drunker than you can possibly imagine. You’ll find him very difficult to handle, in front of Stephen. (Crystal turns to go) Sylvia. Crystal, where are you going? Crystal. (to Mary) You’re trying to break up my marriage! Sylvia. The way you did hers, you floosie! (enter Countess) Countess. (rushing for Crystal) You- you painted wagon! (the girls pull her off crystal) (enter Nancy) Nancy. There’s a gentlemen called Mr. Haines. He says he’s been waiting a long time for his wife. (Crystal moves to get her wrap) Mary. Tell him I’m coming. Sylvia. What a dirty female trick! Crystal. Yes! From the great, noble little woman! You’re just a cat, like all the rest of us! Mary. Well, I’ve had two years to sharpen my claws. (waves her hand gaily to Sylvia) Jungle-red, Sylvia! Good night ladies! (end scene) Closing Transition Scene Fades back into the beauty parlor/nail salon where Agatha and Marge have been recalling the events of Mary’s story Marge. And that’s how it ended up. Agatha. How what ended up? Does she get Stephen back or not? Marge. Oh well, I didn’t really get to hear that part when I was listening to her conversation. Agatha. Marge! Marge. What can I say? I guess nothing changes once you get to be our age. Agatha. Yeah, your skin droops and you can’t bend over. Marge. No I mean marriage, the one thing women won’t stop clawing over. Nothing gets you through life like a new man and his money. Agatha. Except nail polish. Margee. Oh yes, nail polish is the cat’s meow! CURTAIN Conclusion: At a time in American history where women’s roles in society were being molded by feminist ideals and radical outlooks, Clare Booth Luce asserted her opinions on marriage and women’s advancement through the entertainment industry. The Women not only established a new, all-female cast for Broadway plays, it advocated for a change in social attitudes towards divorce. Luce believed that it wasn’t a disgrace for women to be separated from the husbands, but a freedom that allowed them to live fully and contribute to society. Without The Women, the entertainment industry as well as society would be lacking in a critical piece of feminist literature. Storyboard Bibliography "By Clare Boothe Luce." Enotes.com. Enotes.com, n.d. Web. 24 Oct. 2013. . "Clare Boothe Luce Biography." Bio.com. A&E Networks Television, 2013. Web. 24 Oct. 2013. . Grolier. "History of Women's Suffrage | Scholastic.com." History of Women's Suffrage Scholastic.com. N.p., 2013. Web. 24 Oct. 2013. . J, Morris S. "Clare Boothe Luce." Clare Boothe Luce. N.p., 1997. Web. 24 Oct. 2013. . Longwood University. n.d. The Women. October 2013 Luce, Clare Boothe. The Women: A Play in Three Acts. New York: Dramatists Play Service, 1937. Print. PBS. PBS, n.d. Web. 29 Oct. 2013. . "Writer, Diplomat Clare Boothe Luce." CBLPI. N.p., n.d. Web. 29 Oct. 2013. .