Lifestyle
Norma Swenson, ‘Our Bodies, Ourselves’ Co-Author, Dies at 93
Norma Swenson was working to educate women about childbirth, championing their right to have a say about how they delivered their babies, when she met the members of the collective that had put out the first rough version of what would become the feminist health classic “Our Bodies, Ourselves.” It was around 1970, and she recalled a few of the women attending a meeting she was holding in Newton, Mass., where she lived.
It did not go well. One of them shouted at her, “You are not a feminist, you’ll never be a feminist and you need to go to school!”
“I was stricken,” Ms. Swenson remembered in a StoryCorps interview in 2018. “But also feeling that maybe she was right. I needed to know more things.”
She did, however, know quite a bit about the medical establishment, the paternalistic and condescending behavior of male doctors — in 1960, only 6 percent of incoming medical students were female — and the harmful effect that behavior had on women’s health. She had lived it, during the birth of her daughter in 1958.
Despite the initial tension — the woman who had berated Ms. Swenson felt her activism was too polite, too old-school — the members of the Boston Women’s Health Book Collective, as they called themselves, invited Ms. Swenson to join their group. She would go on to help make “Our Bodies, Ourselves” a global best seller. It was a relationship that lasted for the next half-century.
Ms. Swenson died on May 11 at her home in Newton. She was 93.
The cause was cancer, her daughter, Sarah Swenson, said.
It was during a women’s liberation conference in Boston in 1969 that a small group began sharing stories of their fraught experiences with doctors. They told of their frustration with the sexism of the medical establishment and of how confounded they were by the lack of knowledge they had about their own bodies. So they set out to learn for themselves, and in so doing they began to assemble a candid and humane encyclopedia of women’s health — by women, for women.
In 1970, the New England Free Press published their first rough version. It was an immediate underground success, with some 225,000 copies eventually sold. The publisher couldn’t keep up with the demand.
Ms. Swenson joined the group in 1971, when commercial publishers were courting the group’s members. After Simon & Schuster published the book in 1973, much gussied up and expanded, it became a juggernaut.
It covered topics that were then considered unmentionable and, in the case of abortion, illegal: sexuality, masturbation, abortion and birth control. There were chapters on body image, rape and self-defense; on heterosexual and lesbian relationships; on childbirth and its aftermath; and, in later editions, on menopause. There were detailed illustrations — including six variations of hymens — and photographs, including a helpful how-to for viewing one’s own vagina with a mirror.
When The New York Times’s chief book critic, Christopher Lehmann-Haupt — a man! — reviewed it, he explained his rationale for giving himself the assignment.
“I learned a great deal from this book that I did not know before, or had somehow forgotten,” he wrote. “And if the authors are correct in their belief that one of the major reasons why men oppress women is because ‘of the male fear and envy of the generative and sexual powers of women’ — and I think they are — why, then, it will do no harm at all for men to read ‘Our Bodies, Ourselves’ and expend a little rational thought on these powers.”
The book revolutionized how women’s health was discussed, and it quickly became a cultural touchstone. Reading it — often under the covers — was a rite of passage for many young women, who nicked it from their mothers’ bedside tables. More progressive moms gave it to their daughters in lieu of “the talk.”
Barbara Ehrenreich called it a manifesto of medical populism. The Moral Majority deemed it obscene. It even had a cameo in “Heartburn,” Nora Ephron’s 1983 revenge novel about the breakup of her marriage.
But the book was always a labor of love. And as the royalties poured in, the Obos, as they called themselves, used the money not to pay themselves but to create a nonprofit that made small grants to women’s health groups.
In 1977, Ms. Swenson and Judy Norsigian, another core member of the collective, teamed up for a tour of 10 European countries to meet with women’s groups who were putting together their own versions of “Our Bodies, Ourselves.” Ms. Swenson would later help to oversee the international editions and adaptations, and would lecture around the world, particularly in developing countries.
“Norma was always committed to an intersectional approach,” Ms. Norsigian said. “She made sure the activism could fit people’s lifestyles. How they could do things with limited resources. How to tailor the work to specific communities in less industrialized countries. She helped breastfeeding support groups in the Philippines, for example, and met with a doctor in Bangladesh who was advocating for indigenous production of essential drugs.”
“Feminism,” Ms. Swenson once told a group of doctors, “is just another name for self-respect.”
Norma Lucille Meras was born on Feb. 2, 1932, in Exeter, N.H., the only child of Halford Meras, who owned the town’s furniture store, and Nellie (Kenick) Meras, who worked as the store’s bookkeeper.
When she was 9, the family moved to Boston. She attended the prestigious Girls’ Latin School (now Boston Latin Academy), graduating in 1949 and studied sociology at Tufts University. She graduated in 1953 and, three years later, married John Swenson, a decorated World War II pilot — he was a member of the 100th Bomb Group of the Eighth Air Force, also known as the Bloody Hundredth — who worked in insurance and for the Post Office.
It was her daughter’s birth that had made Ms. Swenson an activist. She wanted to deliver the baby naturally, without medication. Her decision was such an anomaly that residents at the Boston Lying-In Hospital gathered to watch her labor. It went swimmingly.
But Ms. Swenson, who was in a 12-bed ward, was surrounded by women who were suffering. They were giving birth according to the practices of the era: with a dose of Scopolamine, a drug that induced so-called twilight sleep and hallucinations, followed by a shot of Demerol, an opioid.
She remembered the women screaming, trying to climb out of their beds, calling for their mothers and cursing their husbands before being knocked out by the Demerol, their babies delivered by forceps.
It was barbaric, she thought. “These women weren’t being helped,” she said in 2018, “they were being controlled.”
She became president of the Boston Association for Childbirth Education, which focused on natural childbirth, in 1964, and later served as president of the International Childbirth Education Association. She earned a master’s degree in public health from Harvard in 1973.
Mr. Swenson died in 2002. Ms. Swenson’s partner for the next decade and a half, Leonard van Gaasbeek, died in 2019. Her daughter is her only immediate survivor.
For most of her life, Ms. Swenson traveled the world as an expert on reproductive rights and women’s and children’s health, advising women’s health groups and helping to connect them with policy and grant makers. She taught at the Harvard School of Public Health and served as a consultant to the World Health Organization and other groups.
“Our Bodies, Ourselves,” last updated in 2011, has sold more than four million copies and been translated into 34 languages. The nonprofit behind the book, which provides health resources to women, is now based at Suffolk University in Boston.
“It’s not that things have so dramatically improved for women,” Ms. Swenson told The Times in 1985. “But they’d be much worse if it were not for the pressure of the women’s health movement. We are a presence now that cannot be made to disappear.”
She continued: “Women’s voices are being heard, speaking about their needs and their experiences, and they are not going along with having decisions based simply on what the medical profession needs or what the drug industry needs. I find that enormously exciting.”
Ryan Gosling stars as Ryland Grace, a former science teacher-turned-humanity’s last hope.
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Perhaps the reason Project Hail Mary hits the spot in the spring of 2026 is that novelist Andy Weir, who wrote the 2021 novel and also the book The Martian, is fundamentally an optimist. Both stories concern men who are alone, facing impossible odds, far from Earth. And both stories posit that for anyone stranded under these conditions, the most important assets are accumulated knowledge, patience, curiosity, and the understanding that you need collaborators. Not magic, not muscle, not weapons, not even bravery, really. Just this: Know your stuff. Stay calm. Solve one problem at a time. Get help.
Problems of the natural world can be addressed through, and only through, mastery and cooperation might seem like a truism, but in Weir’s stories, it emerges as an expansively hopeful thesis.
In the new film Project Hail Mary, directed by Phil Lord and Christopher Miller, Ryan Gosling plays Ryland Grace, a middle school science teacher whose background is in molecular biology. He wakes up in a berth, bedraggled and weak, unable to remember why he is floating through space on a ship in which he is the only living crew member. With time, he’s able to put together that a woman named Eva Stratt (Sandra Hüller) recruited him to a team she was assembling to solve the gravest of problems: The sun is dying. The rest of the mission details are filled in through flashbacks, but the short version is that Grace was sent into space to figure out how to stop a sort of celestial infection that’s wiping out star after star — not just our sun.
Because there are other suns involved, it’s not surprising that there turns out to be other life involved, too. Other beings are trying to save themselves from the same menace that’s threatening Earth, and eventually, Grace makes contact with one: another scientist in another ship, whom he decides to call “Rocky,” because the guy looks a little rock-like. Also a little dog-like.
It is one of the greatest threats to making a good film out of Project Hail Mary that Rocky is very cute. In fact, he is adorable. He is also a skilled engineer dealing with his own isolation and his own losses. But Grace finds a way to communicate with him and eventually to outfit him with a human voice (provided by James Ortiz, who’s also Rocky’s puppeteer), and at that point, there is a lot of buddy comedy in the mix. It would have been easy to turn this into a nonstop series of gags where Ryan Gosling — who, after all, is also often adorable — cracks jokes with his alien pal. There are parts of the film that are that, and they are terrific.
But Weir is a really thoughtful writer (as is screenplay writer Drew Goddard), and Gosling can be an exceptionally quiet and sympathetic actor (as he was when he played Neil Armstrong in the underappreciated First Man). And in this story, they also find a lot of opportunities to explore questions about how to carry on in almost impossible circumstances.
Grace’s story is a lot of fun, but, like The Martian, which became a movie in 2015, it’s also an examination of how to get by and avoid despair. It’s about what Grace needs in order to persevere: a plan, a sense of purpose, and some company. It posits that people (and maybe beings other than people) need friends. They need allies. Grace needs Rocky, for help with the science but also because for him, alone is bad, and not-alone is better.
This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. Sign up for the newsletter so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.
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Animated Australian sensation “Bluey” has arrived in Disneyland, and the titular anthropomorphic pastel-coated canine has come ready to play. And dance. And to race some “barky boats.”
The Walt Disney Co. first teased that the Blue Heeler puppy and her younger sister Bingo would be coming to the Anaheim theme park in 2024. Bluey is now the star of a performance-focused takeover of the park’s Fantasyland Theatre, which officially opened Sunday.
Two shows, games and spontaneous dance parties are hallmarks of the experience, as Disneyland’s live entertainment team sought to translate the show’s particular broadcast-based appeal to the real world.
“Bluey” works because it’s charmed children and grown-ups alike, emphasizing imaginative parenting skills as much as it does Bluey’s playful spirit. Though only about seven minutes, each core “Bluey” episode unfolds patiently, often centered on make-believe, wonder and childlike ingenuity. Subtle life lessons, such as cooperation, understanding one’s self-worth, overcoming a fear of the unknown and much more, dot seemingly simple scenarios.
In many episodes, Bluey’s mom (Chilli) and dad (Bandit) indulge in their daughters’ penchant to play pretend, so much so that a friend of mine with a young girl joked that she needed to watch the show to learn how to be a better mom.
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I arrived at “Bluey’s Best Day Ever!” as a childless columnist, and yet I came away enchanted by what Disneyland’s live entertainment team, led by Susana Tubert, had concocted. It’s a little silly and corny, yes, but manages to vary the tempo and can even tug at one’s heartstrings by showing the bond between siblings.
Theme park fare, especially when aimed at a preschool set, tends to fall back on high-energy, photo-op-based treatments, and while there’s plenty of amped-up goofiness here, “Bluey’s Best Day Ever!” understands that’s not why the series was the most-streamed program in 2025, according to data from research firm Nielsen.
Two core shows are featured in the experience, and some “Bluey” regulars make an appearance. The overbearing, bratty hand-puppet Unicorse, for instance, plays key roles in launching each performance. Set to play continuously throughout the day, with breaks for Bluey and Bingo to appear on stage and dance or play with youngsters, each has a slightly different tone and feel.
One emphasizes an adventure story, its themes encouraging Bluey to flash some bravery and dispel stereotypes. The other takes a lighter touch, with some of the softer, almost ballad-like songs from the show, such as “Rain (Boldly in the Pretend),” highlighted, seeking to emphasize the bond between Bluey and Bingo. Here, I thought of Bluey’s more tender moments — those, for instance, that emphasize becoming comfortable with growing older and letting go.
“Bluey’s Best Day Ever!” features live music, puppets and dance breakouts.
(Mark Potts / Los Angeles Times)
“We try to hit the humor, the play — shared play — and some of the more profound experiences that these characters go through,” Tubert says. “At the end of the second show, you’ll see a moment that is really quite beautiful. It’s a tribute to sisterhood, and how these two characters of Bluey and Bingo connect with one another.”
While one can certainly sit in the Fantasyland Theatre’s stands and simply take in the two shows, there are plenty of moments geared at getting audiences moving. Dances, for instance, may mimic animal behaviors, or reference popular moments from the series, such as getting grannies to floss.
A nod to the attention-seeking fairies — here, less Tinker Bell and more a metaphor for being noticed — inspires a “Riverdance”-like breakout. The five-piece, brass-heavy band gets a workout when Bluey’s impossible-to-control toy Chattermax has a cameo. The squawking plaything can test even Bluey’s patience.
Throughout, performers walk a line between teaching the maneuvers to the crowd and getting lost in the moment themselves. The challenge for Disney choreographer Taylor Worden was to create dance moves that also doubled as audience encouragement.
Spin, for instance, like a flower in the wind, or lightly snap your fingers to recall the sound of rain. Bounce with your hands in front of you as if you’re driving a car down a rocky street, or put your hand above your head and try for an elegant, ballerina-inspired twirl.
“It actually was letting go of all of those technical things that I’ve learned and letting that inner child come out,” Worden says. “As imaginative as Bluey and Bingo are, I wanted to hone in on that. I want everybody to enjoy, have fun and play. Play is at the forefront of everything. It’s so easy to get set in our ways, and even as an adult, it’s so hard to actually play nowadays. This has been such an experience to get to a childlike state.”
“Bluey’s Best Day Ever!” references many show moments from the series, including one with nods to the fairies.
(Mark Potts / Los Angeles Times)
There’s more, however, to “Bluey’s Best Day Ever!” than the two performances. The Fantasyland Theatre has been outfitted with pop-up installations. Some are purely photo ops, such as an opportunity for little ones to take a class photo with Bluey and her pals, while others aim to inspire exploration, such as a mini gnome village or fairy garden.
Taken as a whole, the feel is something of a fair, like hanging out with Bluey and Bingo at a backyard barbecue. The theater’s walk-up food window is serving pizza-inspired baked potatoes, a colored chocolate pretzel meant to mimic an asparagus pretzel wand, and more.
There’s also a place to race some “barky boats.” In the show, barky boats is a game that takes place on a tiny stream with tree bark, but there’s no water here. Instead, look for a track in a nook above the seating area, where one can race wooden blocks affixed with wheels — think Pinewood Derby — down a track painted to mimic a waterway. Throughout the theater, the colors are springlike and muted, pastels that are lightly bright and storybook-inspired. Even the dance costumes adopt this soft, crayon-like color palette.
“Bluey’s Best Day Ever!” at the Disneyland Resort invites audience participation.
(Mark Potts / Los Angeles Times)
“The color palette works perfectly with the set,” says Trevor Rush, a manager with costume design and development. “Lots of pastel colors. ‘Bluey,’ that world, focuses very much in that primary world. You won’t see a lot of black represented.”
“Bluey’s Best Day Ever!” does not currently have an end date, but is expected to be a Disneyland staple throughout the spring and summer seasons, with showtimes currently set for the late morning and early afternoons. For Tubert, who has an extensive background in theater, “Bluey’s Best Day Ever!” is meant to highlight the theme park as a place of play, where one can be a bit silly, and maybe even a little vulnerable.
“There’s a nonjudgmental safe space that we’ve created in ‘Bluey’s Best Day Ever!’ that invites everyone to feel uninhibited and the joy of playfulness,” Tubert says.
The illuminated bell tower of the Basilica Minore dei Santi Filippo e Giacomo stands at the heart of Cortina d’Ampezzo, Italy, as evening settles over the valley. Once a small village of farmers and shepherds, this storied town has evolved into the “Pearl of the Dolomites,” a renowned luxury destination. Surrounded by the limestone peaks of the UNESCO World Heritage Dolomites, the town’s historic center remains a “living room” for celebrities and high society.
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CORTINA D’AMPEZZO, Italy — Walking the main thoroughfare of Cortina D’Ampezzo is a glamorous experience. It is as if every designer brand has decided it needs to be represented in this small town more than 4,000 feet up in the Italian Alps. In a few short steps, you pass shops for Dior, Fendi, Gucci, Prada and more. Among passers-by, fur coats are in fashion.
Cortina has been in the international spotlight in recent weeks as a host to many of the Olympic and Paralympic Winter Games. But this storied town has a much longer history of fame and fortune that has led to various nicknames like Pearl or Queen of the Dolomites.
A window display for the luxury fashion brand Fendi illuminates a central street in Cortina d’Ampezzo, adjacent to a large outdoor sculpture of a skier. The town’s main thoroughfare is a glamorous hub where premier designer brands like Dior, Gucci and Prada are represented.
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On the mountain slopes nearby, skiers stop for hot chocolate or an alcoholic spritz at an Alpine lodge where they are served by Riccardo Fiore, the grandson of the region’s winter sport champions. His grandmother, Yvonne Rüegg, is an Olympic gold medalist in giant slalom. His grandfather was the trainer of Alberto Tomba — one of history’s greatest Alpine skiers, who learned on these very slopes. “Tomba still stops by here all the time,” he says.
Riccardo Fiore, grandson of Olympic gold medalist Yvonne Rüegg, poses inside his family’s Alpine lodge in the Dolomites.
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American actor Sylvester Stallone (right) and director Renny Harlin on the set of Harlin’s film Cliffhanger.
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A large-scale photograph of Italian skiing legend Alberto Tomba, wearing a traditional fur hat and reading a sports newspaper with the headline “Immenso Alberto,” is displayed in a wood-paneled interior in Cortina d’Ampezzo. Tomba, one of history’s greatest Alpine skiers, learned to race on these slopes under the guidance of local trainers, further cementing the town’s status as a historical cradle of international winter sports.
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For Fiore, there’s nothing unusual about serving drinks to famous individuals. He names well-known Italian politicians, actors and singers he has spotted in the lodge. And there are international names who visit Cortina, too — Sylvester Stallone, who filmed scenes from the 1993 action movie Cliffhanger here, Snoop Dogg, Justin Timberlake and Ridley Scott, to name a few.
“Many celebrities you barely recognize,” he says. “They try to disguise themselves, as they don’t want to attract too much attention.”
Nonetheless, Cortina has earned another nickname — the “celebrities’ living room.” The Hotel de la Poste bar, with its wood-paneled ceiling and walls, was a favorite haunt of American writer Ernest Hemingway. A small plaque honors him on a wall by the corner table he occupied for countless hours in the 1940s. And the hotel has preserved the room he stayed in — visitors can look in to see his typewriter.
“His room is a time capsule,” says Servane Giol, author of The Queen of the Dolomites, a book about the history of Cortina.
“I found some amazing letters from Hemingway explaining how he was a bit against ski lifts, because he believed it was better for the legs to be warmed up by climbing the mountains and skiing down,” Giol says. “This really made me laugh; to think that somebody could be against ski lifts.”
Servane Giol, renowned expert in Venetian art and lifestyle, poses in the historic wood-paneled Stube of the Hotel de la Poste. Giol, who has dedicated her work to preserving the cultural and aesthetic heritage of the region, sits beside an old painted pendulum clock, a symbol of the hospitality and Ampezzo tradition that the hotel has represented since 1804.
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American writer Ernest Hemingway, wearing a hunter waistcoat, stands behind a bar counter and pours gin in Cortina d’Ampezzo in 1948.
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Members of the U.S. Olympic teams walk during the procession into Cortina’s huge ice stadium for opening ceremonies launching 11 days of competition in the 1956 Winter Olympics.
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Giol says Cortina, once a small village of farmers and shepherds, became famous in the 1920s, when it was visited by the then king of Belgium, who loved to climb the jagged limestone Dolomite peaks that surround it. His daughter then married an Italian crown prince. “Between the 1920s and the 1940s, Cortina was actually the chicest place to be. You’ve got very glamorous royal families,” she says.
It became a destination for Italy’s wealthy. And then in 1956, Cortina hosted the first-ever Winter Olympics to be televised. Archive footage shows grainy black-and-white images of the opening ceremony, described by the news anchor as the “spectacle of peace.” Olympic participants from 32 countries took part in the Games that saw athletes speeding down the mountain slopes or shooting down the bobsled track built at the edge of the town.
The television broadcasts internationalized Cortina’s fame. Hollywood films were shot here — including the first Pink Panther movie, as well as the 1981 film For Your Eyes Only, with actor Roger Moore as James Bond. It includes a high-octane chase, as Bond skis down the mountainside pursued by assassins on motorbikes who shoot at him, the bullets zinging past as he slaloms and performs a somersault on skis.
English actor Roger Moore poses as 007, with a Lotus Esprit Turbo, on the set of the James Bond film For Your Eyes Only in Cortina d’Ampezzo, Italy, in March 1981.
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Today, the Dolomites are a UNESCO heritage site and their beauty attracts celebrities and huge numbers of other tourists — many lured by images shared on social media of the turquoise Alpine lakes and stunning peaks.
And more crowds came in February and March to watch the Olympics and Paralympics. This time, the Games relied almost entirely on artificial snow. As winters become shorter and warmer because of climate change, there are also questions about the future of this ski resort town.
Ludovica Rubbini, co-founder of the Michelin-starred restaurant SanBrite, inspects a wheel of artisanal cheese inside the establishment’s aging cellar. The “agricucina” project emphasizes the traditional preservation and maturation of local dairy products, showcasing the deep connection between the restaurant’s kitchen and its own farm production in the Dolomites.
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A table setting awaits customers at SanBrite restaurant.
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A waiter provides tableside service for guests in the dining room of the Michelin-starred restaurant SanBrite. The establishment, known for its “agricucina” philosophy, combines a refined mountain atmosphere with traditional Cortinese architectural elements, emphasizing a direct connection between local ingredients and high-end hospitality in the heart of the Dolomites.
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But Cortina is changing, too. More people come for summer hiking and for unique fine dining, like that offered by Ludovica Rubbini and her husband, Riccardo Gaspari, whose restaurant SanBrite has earned a Michelin star, as well as the guide’s “green star” for the sustainable agricultural and locally grown ingredients the couple uses on its farm.
In the cozy restaurant, where dried flowers hang from the walls and lights include lamps used during the 1956 Olympics, waiters tell guests at this fine-dining restaurant about the cows that provided the home-churned butter that is served in large pots for sourdough bread.
The dishes are inspired by the mountains and woodland of the area. They include a Jerusalem artichoke cigar served on a bed of moss and filled with the cream of the artichoke, mushrooms and marinated shallots. And a dessert made to look like a frozen lake, with a panna cotta base and layer of frozen water and elderflower, and yogurt powder as a dusting of snow.
“We were out for a walk, and Riccardo crouched by the frozen lake tapping it and examining it,” Rubbini says, remembering the day her husband was inspired to develop this perfect winter dessert.
The snow-capped peaks of the Tofane massif are framed through a window of a rifugio, a kind of traditional mountain hut, decorated with typical heart-patterned Ampezzo textiles. These high-altitude lodgings serve as essential rest areas for skiers and hikers, offering a blend of rustic hospitality and panoramic views that define the winter experience in the Dolomites.
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