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      ‘I Was a Childless Cat Lady’: Women Respond to JD Vance

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      More from our inbox:Clearing Homeless EncampmentsFood and Gas PricesThe Roger Maris FireThe selection of Senator JD Vance of Ohio as former President Donald J. Trump’s running mate was supposed to appeal to women, voters of color and blue-collar voters, but a stream of years-old comments has threatened to undermine that.Jamie Kelter Davis for The New York TimesTo the Editor:Re “Past Comments Fluster Vance as Democrats Go on Offense” (front page, July 29):JD Vance, the Republican vice-presidential nominee, said in 2021, “We’re effectively run, in this country, via the Democrats, via our corporate oligarchs, by a bunch of childless cat ladies who are miserable at their own lives and the choices that they’ve made, and so they want to make the rest of the country miserable, too.”I would say this to Mr. Vance:I was a childless cat lady: three cats, no kids.I thought fertility was a given. There was no medical reason I couldn’t have children. Yet it did not happen. Three cats. A great career. No kids.I was, in effect at 38, a “childless cat lady.”I pursued fertility treatments. Treatments that many Republicans want to ban.I had painful tests, surgeries, running to the lab — five vials of blood drawn every day at 6 a.m. — then rushing to work for a minimum 12-hour day.Childless cat lady lawyer. Meow.I had one fabulous child at 38 with I.V.F. She was a triplet, but I lost my daughter’s siblings.I was pregnant three other times. I lost two other babies at four months. I needed a D and C: same procedure as an abortion. If I didn’t have the surgery, I would have died.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Olympics Opening Ceremony Singer Redefines What It Means to Be French

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      Aya Nakamura, the French Malian singer, did more than open the Games. She redefined what it means to be French.A new France was consecrated Friday evening during the opening ceremony of the Olympic Games. When Aya Nakamura, a French Malian singer, came sashaying in a short fringed golden dress out of the august Académie Française, she redefined Frenchness.Adieu the stern edicts of the Académie, whose role has been to protect the French language from what one of its members once called “brainless Globish.” Bonjour to a France whose language is increasingly infused with expressions from its former African colonies that form the lyrical texture of Ms. Nakamura’s many blockbuster hits.France’s most popular singer at home and abroad gyrated as she strode forth over the Pont des Arts in her laced golden gladiator sandals. A Republican Guard band accompanied her slang-spiced lyrics. Her confidence bordered on insolence, as if to say, “This, too, is France.”Marine Le Pen, the far-right leader, had said that Ms. Nakamura sings in “who knows what” language. But her denunciation of the performance on the grounds that it would “humiliate” the French people failed to stop it.The backdrop to the ceremony was a political and cultural crisis in France broadly pitting tradition against modernity and an open view of society against a closed one. The country is politically deadlocked and culturally fractured, unable to form a new government or agree on what precisely Frenchness should be.In this context, the thrust of the ceremony, as conceived by its artistic director, Thomas Jolly, was to push the boundaries of what it means to be French in an attempt to bolster a more inclusive France and a less divided world. It was a political act wrapped in a pulsating show.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Oren Alexander, Top Real Estate Agent, Faces Another Claim of Sexual Assault

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      A fourth woman filed a lawsuit against Oren Alexander, once a star agent of luxury real estate.An actress and comedian says she was drugged and sexually assaulted by Oren Alexander, a top luxury real estate agent who is facing a string of accusations that he and his two of his brothers sexually assaulted women — allegations that had been whispered throughout the high-end real estate industry for years.Renee Willett, 31, filed a federal lawsuit on Friday accusing Mr. Alexander, 37, of attacking her in his apartment nearly nine years ago. She is the fourth woman to file a lawsuit this summer against Mr. Alexander. Two earlier lawsuits filed this year name Mr. Alexander and his twin brother, Alon, who does not work in real estate but often socializes with him. A third suit filed in June names Oren, Alon and their older brother Tal Alexander, 38, who is Oren’s longtime partner in real estate sales.Isabelle Kirshner, a lawyer for Oren Alexander, said she had no comment on the new allegation at this time. Oren, Tal and Alon have denied all previous allegations.Like other women who have said they were assaulted, Ms. Willett said she was prompted to file a lawsuit after reading articles about similar claims involving the Alexanders. Her lawsuit, filed in U.S. District Court in the Southern District of New York, came two days after The New York Times published an article with accounts from several women about the brothers.“I felt a responsibility to come forward,” she said. “I have to do this not just for myself, but for everyone else.”Ms. Willett is an actress and comedian who is now working on a screenplay. She came forward, she said, after learning about other allegations of assault against the Alexanders.Vivien Killilea/Getty Images For Idol RocWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Black Sororities and Fraternities Line Up Behind Kamala Harris

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      A united “Divine Nine” could be a formidable political advantage as the vice president, a member of Alpha Kappa Alpha, looks to shore up the Democratic base. She’ll address another Black sorority on Wednesday.As Vice President Kamala Harris’s presidential campaign rushes to shore up its base, its efforts will be bolstered by a ready-made coalition: the more than two million members of Black Greek-letter organizations who have quickly united to mobilize Black voters nationwide.Before Ms. Harris had even hosted her first official campaign event as the de facto Democratic nominee, the heads of the “Divine Nine,” the country’s nine most prominent Black sororities and fraternities, were planning a giant voter organization effort. When President Biden announced on Sunday that he was stepping aside and endorsing Ms. Harris, excitement over her ascent spread swiftly among these groups’ members in group chats, Facebook groups and conference calls.After all, Ms. Harris, a member of Alpha Kappa Alpha since her undergraduate days at Howard University, is one of them.“Greek letter organizations who have worked in the trenches, some for over 100 years, never received any kind of publicity, any kind of notoriety,” said Representative Frederica S. Wilson of Florida, who is also a member of Alpha Kappa Alpha. Once Ms. Harris ran for president, in 2020, she said, that changed. “The A.K.A.s shouted to the highest hills, ‘That’s our soror! That’s our sister!’”On Wednesday, Ms. Harris is expected to address members of the Zeta Phi Beta sorority at their Boulé, or annual national gathering, in Indianapolis — her first such event as the Democratic Party’s likely standard-bearer. Members of Alpha Kappa Alpha cheer for Vice President Harris during the Boulé in Dallas, on July 10, 2024.LM Otero/Associated PressWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Female President? Big Deal.

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      In her concession speech to President-elect Donald Trump in November 2016, Hillary Clinton declared, “We have still not shattered that highest and hardest glass ceiling, but some day someone will — and hopefully sooner than we might think right now.”There was lots of talk about gender in politics then. Many of us thought that Clinton lost in part because of both hard-core misogyny and a softer unconscious bias that led just enough voters to think of presidents only as guys in suits.I’ve been thinking lately of that glass ceiling because of a conversation we’re not having — one about the gender of the Democratic nominee if Joe Biden takes advice from so many of us to drop out of the presidential race.If Biden withdraws, his most likely successor is a Black woman, Vice President Kamala Harris, who polls a bit better than Biden against Trump. Some of us have urged instead that Democrats nominate Gov. Gretchen Whitmer of Michigan, believing that she would be the nominee most likely to defeat Trump. And a few of us have mentioned the talented Commerce Secretary Gina Raimondo, a former governor and a star of the Biden cabinet.Our argument isn’t a feminist one about the significance of elevating women. It’s not even an argument that these politicians would perform better than Biden as president. Astonishingly given our history, it’s that they would also be more electable.Perhaps even more intriguing, gender has largely gone unmentioned. I’ve had people push back at my recommendation of Whitmer on the basis that she’s untested nationally, that choosing her over Harris would antagonize Black voters, that her name recognition is weak. All fair objections. But I haven’t heard anyone scoff: But Whitmer is a woman. We tried that in 2016, and it got us Trump.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Family Loses 3 Generations of Women in India Crowd’s Panic

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      Vinod Kumar was away from home on Tuesday, as he usually is for days at a time in search of masonry work, when he got the dreadful call.All the women in his family, three generations of them, were dead, crushed in a stampede.For the rest of the day, Mr. Kumar and his three sons went from hospital to hospital searching for their loved ones among the bodies of the 121 people who had died when a large gathering of a spiritual guru broke into deadly panic.Close to midnight, they found the bodies of his wife, Raj Kumari, 42, and daughter, Bhumi, 9, at the government hospital in Hathras, laid out on large slabs of ice among the dozens others in the corridor.“Why did you leave me just like that? Who will scold the children now and push them to go to school?” Mr. Kumar wailed at the feet of his wife.But he couldn’t afford to be entirely lost in grief yet. The body of his mother was yet to be found. He bent over to pick up his daughter for one last embrace. Bhumi wore a yellow top, and her hair was tied in a ponytail with a pink band.“Let her sleep,” Nitin, Mr. Kumar’s oldest son, told him, pulling the girl away from his father to lay her back on the slab so they could continue the search.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Wide, Wide World of Judy Chicago

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      The 84-year-old American is perhaps best known for her groundbreaking feminist installation “The Dinner Party,” but she is an artist with a formidable range.Like all women and all art, Judy Chicago contains multitudes. This summer, the 84-year old American artist’s lifelong interest in excavating and subverting female history through storytelling, activism and overtly feminine aesthetics and materials is on display in two bold and affecting European retrospectives.Across venues in Britain and France, six decades of Chicago’s distinctly feminist oeuvre show a remarkable range. Minimalist sculptures; psychedelic spray-painted car hoods; landscapes billowing with bright plumes of smoke; and paintings of swirling, hallucinatory flowers fill the galleries with Chicago’s hallmark bright colors and undulating line.Many works incorporate personal texts in tidy, looping cursive about gendered rejection, shame, longing and anger. And tapestries, wall hangings and monumental drawings on black paper present female bodies, including the body of the artist herself, in states of ecstasy, abandon, dissolution — being born, giving birth, dying and evanescing into the ether in rainbow sweeps and spirals. These works foreground the female nude, its life-giving properties and implicit connection to the natural world.One of the shows, “Herstory” — which ran at the New Museum in New York this past fall and is now on show at the LUMA Foundation in Arles, France — is a classic chronological display of Chicago’s work from the early 1960s to the present; the other, “Revelations,” at the Serpentine Galleries in London, focuses on the artist’s drawings. The catalog for the London exhibition also includes an illuminated manuscript of the same name from the 1970s that Chicago produced while creating her best-known work, “The Dinner Party” (1974-1979), an installation that imagines a ceremonial banquet for 39 pre-eminent women.“In the Beginning,” from “Birth Project” (1982), on display at the Serpentine Galleries in London.Judy Chicago/Artists Rights Society (ARS), New York, via Judy Chicago and Serpentine; Jo UnderhillNow a mainstay of art history studies, “The Dinner Party” has dominated understanding of Chicago’s career despite her prolific and wide-ranging output. The vast triangular table with elaborate ceramic and embroidered place settings was the product of years of collaborative work with female artisans, and it distilled a decade of research in archives and libraries, where Chicago unearthed figure after figure who had made groundbreaking discoveries across disciplines but whose contributions had been erased from history. Each place setting at the banquet is devoted to one of these women, each with her own special embroidered cloth and ceramic plate.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      June Leaf, Artist Who Explored the Female Form, Dies at 94

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      Womanly power was a recurring theme of her work, expressed in idiosyncratic sculpture and paintings that did not align with prevailing trends.June Leaf, a painter and sculptor whose exploration of the female form, by turns whimsical, graceful or ominous, paved the way for later generations of feminist artists, died Monday at her home in Manhattan. She was 94. The cause was gastric cancer, said Andrea Glimcher, her agent at the Hyphen management firm and a friend.Ms. Leaf worked for much of her long career outside the mainstream. Idiosyncratic and intuitive, she developed a unique blend of expressionism and primitivism, allied with a childlike sense of play. Her varied output included toylike kinetic sculptures, frantic ink drawings with a nervous, tensile line, satirical social scenes, and macabre skeletons painted on canvas or tin.Womanly power was a recurring theme, expressed early on in goddess-like figures with hugely distended hips and breasts and women with batlike wings or gyroscope torsos, and later in a powerful series of metal heads reminiscent of tribal sculpture.At no point did the work align with prevailing trends in contemporary art, and for much of her life Ms. Leaf was overshadowed by her husband, the photographer Robert Frank, whom she married in 1975. She nevertheless commanded a devoted audience attuned to her unique frequency, as well as the admiration of a small group of critics and curators.Reviewing her first solo New York show in 1968, Hilton Kramer of The New York Times called her work “remarkably forceful and robust — the product of an earthy imagination with a striking talent for projecting images that are at once ferocious and macabre, satirical and touching.” He added, “She is that rare thing in painting today: a poet with a taste and a talent for complex images.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More