My thesis examines the role that Ladies Home Journal played in challenging the ideals of domesticity that emerged in the postwar period in the United States. Originally founded in 1883, Ladies Home Journal emerged from World War II as the most popular and highly circulated women’s magazine. Husband and wife duo Bruce and Beatrice Gould served as co-editors-in-chief from 1935 to 1962, and populated the magazine with numerous ambitious and talented female writers and editors. Many of these female staff members also married and had children, while maintaining their careers. During an era where employees discriminated against women in the workplace, Ladies Home Journal employed women and published numerous articles supporting women in the workplace. In 1963, Betty Friedan claimed that women’s magazines only perpetuated the idealized, feminine housewife, but I argue that her argument oversimplifies the complexities women’s magazines represented during the 1950s. Divided intro three chapters, I analyze the shifting working conditions for women between the 1940s and 1950s, then unearth the working culture of Ladies Home Journal during the postwar period through an analysis of the editors, writers, and articles. Lastly, I examine three female journalists, Dorothy Thompson, Betty Hannah Hoffman, and Maureen Daly who all regularly contributed to the Journal.

This dissertation uses a feminist cultural materialist approach that draws on the work of Pierre Bourdieu and Luce Irigaray to examine the neglected genre of postwar-Cold War American teen girl romance novels, which I call female junior novels. Written between 1942 and the late 1960s by authors such as Betty Cavanna, Maureen Daly, Anne Emery, Rosamond du Jardin, and Mary Stolz, these texts create a kind of hieroglyphic world, where possession of the right dress or the proper seat in the malt shop determines a girls place within an entrenched adolescent social hierarchy. Thus in the first chapter, I argue that girls adherence to consumer-based social codes ultimately constructs a semi-autonomous female society, still under the umbrella of patriarchy, but based on female desire and possessing its own logic. This adolescent female society parallels the network of women who produced (authors, illustrators, editors) and distributed (librarians, critics) these texts to teenaged girls. Invisible because of its all-female composition, middlebrow status, and feminine control, yet self-governing for the same reasons, the network established a semi-autonomous space into which left-leaning authors could safely (if subtly) critique American social and foreign policies during the Cold War. Chapter Two examines the first generation of the network, including Anne Carroll Moore, Bertha Mahony, Louise Seaman, and May Massee, who helped to create the childrens publishing industry in America, while Chapter Three investigates the second generation, including Mabel Williams, Margaret Scoggin, and Ursula Nordstrom, who entrenched childrens and adolescent literature in publishing houses and library services. In Chapter Four I explore the shifting concept of what constitutes quality within these texts, with an emphasis on the role of authors, illustrators, and critics in defining such value. Chapter Five investigates the use of female junior novels within the classroom, paying particular attention to the role of bibliotherapy, in which these texts were used to help teenagers solve their developmental tasks, as suggested by psychologist Robert J. Havighurst. A brief conclusion discusses the fall of the female junior novels and their network, while a coda addresses the republication of these texts today through the nostalgia press.

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