Hannah Baker Saltmarsh
Biographic Data
| ID | 1657918 |
|---|---|
| NAME | Hannah Baker Saltmarsh |
| GIVEN NAMES | Hannah Baker |
| FAMILY NAME | Saltmarsh |
| SIGNATURE | SALTMARSH H B |
| AFFILIATIONS | Hampton University |
| ORCID | 0000-0002-7366-7776 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
“Girl, I Got My Mind. And What Goes on in It. Which Is to Say, I Got Me”
This essay highlights how, in lieu of a supportive community, Toni Morrison’s artistic daughter-protagonist, Sula, creates her own safe space within her liberated imagination through self-mothering. Thematic motifs of creative identity, the social role of the artist, and revolutionary self-care are relevant not only to Sula but to how Morrison herself conceived of transformative, safe spaces for Black women writers through her work as a writer an…
Daphne, Early 2000s
Male Poets and the Agon of the Mother
Notice; Index of Jobs for Women
738 Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. Hannah Baker Saltmarsh Notice When I read people’s necks, waiting on the same wheels: make out the names, Rabbit, Omar, Tiny, Mark, Deedy, Soulja, like characters on a new Netflix series that uses people’s real names; or say, trace up to the teardrop on the cheek, either you murdered someone or was someone’s little b in prison (the difference as slight as pushing on the door bell or…
Notice; Index of Jobs for Women
738 Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. Hannah Baker Saltmarsh Notice When I read people’s necks, waiting on the same wheels: make out the names, Rabbit, Omar, Tiny, Mark, Deedy, Soulja, like characters on a new Netflix series that uses people’s real names; or say, trace up to the teardrop on the cheek, either you murdered someone or was someone’s little b in prison (the difference as slight as pushing on the door bell or…
No prominent works on this page.
Notice; Index of Jobs for Women
738 Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. Hannah Baker Saltmarsh Notice When I read people’s necks, waiting on the same wheels: make out the names, Rabbit, Omar, Tiny, Mark, Deedy, Soulja, like characters on a new Netflix series that uses people’s real names; or say, trace up to the teardrop on the cheek, either you murdered someone or was someone’s little b in prison (the difference as slight as pushing on the door bell or…
Notice; Index of Jobs for Women
738 Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. Hannah Baker Saltmarsh Notice When I read people’s necks, waiting on the same wheels: make out the names, Rabbit, Omar, Tiny, Mark, Deedy, Soulja, like characters on a new Netflix series that uses people’s real names; or say, trace up to the teardrop on the cheek, either you murdered someone or was someone’s little b in prison (the difference as slight as pushing on the door bell or…
Male Poets and the Agon of the Mother
Daphne, Early 2000s
“Girl, I Got My Mind. And What Goes on in It. Which Is to Say, I Got Me”
This essay highlights how, in lieu of a supportive community, Toni Morrison’s artistic daughter-protagonist, Sula, creates her own safe space within her liberated imagination through self-mothering. Thematic motifs of creative identity, the social role of the artist, and revolutionary self-care are relevant not only to Sula but to how Morrison herself conceived of transformative, safe spaces for Black women writers through her work as a writer an…
Business (3 works) · Art (2 works) · Gender, Labor, and Family Dynamics (2 works) · Law (2 works) · Notice (2 works) · Political science (2 works) · 20th century (1 work) · Advertising (1 work) · American and British Literature Analysis (1 work) · American poetry (1 work)