Davis’s work has always reached beyond fashionable trends to communicate with a wider audience. Where feminist historians have often inveighed against writing women’s history in order to supply us with heroines, Davis gives us three rounded portraits of strong early modern women with whom we are certainly encouraged to identify, and whose dilemmas are not unlike our own. Where early modern historians insist on the ubiquity of patriarchy, Davis presents us with hard-working, bread-winning women, never submerged in motherhood and never obliterated as wives… All that Davis writes springs from careful, critical consideration of the mass of theoretical writing that has recently appeared on women’s writing and historical anthropology: none of it clutters her text… For Davis, the historian is a teller of stories. Her book can be read as a way of writing history which does not collar the reader with direct argument or interpretation, but which seeks instead to provoke the imagination. Davis begins with a fictitious dialogue between herself and the three women whose lives she has chronicled, an imaginative risk few scholars would care to take. This is the sort of book that lingers in the mind. In time, one realizes that what Natalie Zemon Davis has accomplished is a new way of thinking about the relations between the Old World and the New, between women and men, mothers and children; and a vast opening up of the territory of the historian.