In 2008, academic and scholar Susan Gubar was told by a trusted oncologist that she had only a few years left to live. Though she outlived that dire prognosis, this brush with mortality refocused her attention on the boons of a longevity she did not expect to experience. She began to think: In the last years of our lives, can we shape and change our creative capabilities?

The resulting volume, Grand Finales, answers this question with a resounding yes. Despite the losses generally associated with aging, quite a few writers, painters, sculptors, musicians, and dancers have managed to extend and repurpose their creative energies. Gubar spotlights very creative old ladies: writers, painters, sculptors, musicians, and dancers from the past and in our times.

Each of Grand Finales' nine riveting chapters features women artists--George Eliot, Colette, Georgia O'Keeffe, Isak Dinesen, Marianne Moore, Louise Bourgeois, Mary Lou Williams, Gwendolyn Brooks, and Katherine Dunham--who transformed the last stage of existence into a rousing conclusion. Gubar draws on their late lives and works to suggest that seniority can become a time of reinvention and renewal. With pizzazz, bravado, and geezer machismo, she counters the discrediting of elderly women and clarifies the environments, relationships, activities, and attitudes that sponsor a creative old age.

In this pathbreaking study, Susan Gubar demonstrates that Theodor Adorno's famous injunction against writing poetry after Auschwitz paradoxically inspired an ongoing literary tradition. From the 1960s to the present, as the Shoah receded into a more remote European past, many contemporary writers grappled with personal and political, ethical and aesthetic consequences of the disaster. By speaking about or even as the dead, these poets tell what it means to cite, reconfigure, consume, or envy the traumatic memories of an earlier generation. This moving meditation by a major feminist critic finds in poetry a stimulant to empathy that can help us take to heart what we forget at our own peril.

Diagnosed with ovarian cancer in 2008, Susan Gubar underwent radical debulking surgery, an attempt to excise the cancer by removing part or all of many organs in the lower abdomen. Her memoir mines the deepest levels of anguish and devotion as she struggles to come to terms with her body's betrayal and the frightful protocols of contemporary medicine. She finds solace in the abiding love of her husband, children, and friends while she searches for understanding in works of literature, visual art, and the testimonies of others who suffer with various forms of cancer.

Ovarian cancer remains an incurable disease for most of those diagnosed, even those lucky enough to find caring and skilled physicians. Memoir of a Debulked Woman is both a polemic against the ineffectual and injurious medical responses to which thousands of women are subjected and a meditation on the gifts of companionship, art, and literature that sustain people in need.

Who was Judas Iscariot and why did he betray Jesus? Despite the recent recovery of a Gnostic Gospel bearing his name, the centrality of Judas has gone largely ignored. Yet, because of gaps and incongruities in biblical accounts about him, artists throughout the ages have returned to the twelfth apostle, who inaugurates Jesus' death and resurrection. In this comprehensive, probing book, Susan Gubar explains how Judas came to stand for the Jewish people and how he personifies a composite Judeo-Christianity that illuminates ambivalent relationships between Christians and Jews as well as changing attitudes toward the body, blood, and money; greed and hypocrisy; suicide and repentance; homosexuality and divinity. Over twenty centuries, a figure of disgrace turns into a dignitary. Gubar shows how Jesus' most notorious disciple--known for a kiss--has provoked profound reflections on the problem of evil that still resonate today.

Elaborating upon her Living with Cancer column in the New York Times, Susan Gubar helps patients, caregivers, and the specialists who seek to serve them. In a book both enlightening and practical, she describes how the activities of reading and writing can right some of cancer's wrongs. To stimulate the writing process, she proposes specific exercises, prompts, and models. In discussions of the diary of Fanny Burney, the stories of Leo Tolstoy and Alice Munro, numerous memoirs, novels, paintings, photographs, and blogs, Gubar shows how readers can learn from art that deepens our comprehension of what it means to live or die with the disease.

From a writer whose own memoir, Memoir of a Debulked Woman: Enduring Ovarian Cancer, was described by the New York Times Book Review as moving and instructive...and incredibly brave, this volume opens a path to healing.

In this unique blend of memoir and literary commentary (Bookpage), acclaimed author and literary scholar Susan Gubar contemplates the beauty and strength of enduring love--both for her husband and for the literature that has shaped her life. Throughout the complications of devoted caregiving, her own ongoing cancer treatments, and a stressful move to a more manageable apartment, Gubar proves that love and desire have no expiration date--on the page or in life. Late-Life Love offers a resounding retort to ageist stereotypes, appraises the obstacles unique to senior couples, and celebrates second chances.

In a series of autobiographical reflections, the contributors to True Confessions, including Gayatri Spivak, Sandra M. Gilbert, Hortense Spillers, and Martha Nussbaum, among others, tell us what experiences ground their activism and how they confronted the dilemmas they faced in the course of their training and careers. Why do a family's religious practices captivate or repel girls grappling with their parents' faith? What happens when a lesbian graduate student assumes she must be closeted, or when a female professor encounters hostility from other women on the faculty, or when a feminist professor is accused of sexually harassing her graduate students?

Susan Gubar has selected the most influential thinkers in the humanities to elucidate the origins as well as the consequences of their commitment to feminism and its institutionalization in higher education. This is an indispensable book for anyone who cares about the place of feminism in today's landscape.

What advances have women made and what still needs to be done? Taking Woolf's classic 'A Room of One's Own' as a guide, this work engages these questions by recounting one year in the life of an English professor. It contemplates transformations produced by the women's movement.

Is feminism dead, as has been claimed by notable members of the media and the academy? Has feminist knowledge, with its proliferation of methodologies and fields, been purchased at the price of power? Are the conflicts among feminists evidence of self-destructive infighting or do they herald the emergence of innovative modes of inquiry? Given a feminism now ensconced within higher education as specialized or fractious scholarship, Susan Gubar's Critical Condition: Feminism at the Turn of the Century demonstrates that an invigorated concentration on activism and artistry can accentuate not the clinical or disparaging meaning of critical but its sense of compelling urgency and irreverent vitality.

As a pioneer of feminist studies--and the object of some of the more rancorous criticism lodged against early feminist scholars--Gubar stands in a unique position to comment on current dilemmas. Moving beyond defensiveness produced by generational rivalry, the impasse propagated by smug deployments of identity politics, and the obscurity of poststructuralist theory, she claims that the very controversies that undermine feminism's unity also prove its resilience.

Gubar begins by considering the volatile impact of gender on recent redefinitions of race, sexuality, religion, and class proposed by four important groups in contemporary feminism: African-American performance and visual artists, lesbian creative writers, Jewish-American women, and newly institutionalized female academics. She then addresses major divisions--including the rifts between various area studies and women's studies, as well as strains between generations--that both threaten and invigorate feminist inquiry. Gubar's forays into art and activism, politics, and the profession provide a sometimes distressing, sometimes comical, sometimes optimistic view of feminism emerging from a time of contention into a lively period of pluralized perspectives and disciplines.

With a little help from Virginia Woolf, Susan Gubar contemplates startling transformations produced by the women's movement in recent decades. What advances have women made and what still needs to be done? Taking Woolf's classic A Room of One's Own as her guide, Gubar engages these questions by recounting one year in the life of an English professor.

A meditation on the teaching of literature and on the state of the humanities today, her chapters also provide a crash course on the challenges and changes in feminist intellectual history over the past several decades: the influence of post-structuralism and of critical race, postcolonial, and cultural studies scholarship; the stakes of queer theory and the institutionalization of women's studies; and the effects of globalism and bioengineering on conversations about gender, sex, and sexuality. Yet Rooms of Our Own eschews a scholarly approach. Instead, through narrative criticism it enlists a thoroughly contemporary cast of characters who tell us as much about the comedies and tragedies of campus life today as they do about the sometimes contentious but invariably liberating feminisms of our future.