student activists are exposing a pervasive cover-up of sexual violence on college campuses. Every day more survivors come forward. But other survivors choose not to. We Believe You elevates the stories the headlines about this issue have been missing--more than 30 experiences of trauma, healing and everyday activism, representing a diversity of races, economic and family backgrounds, gender identities, immigration statuses, interests, capacities and loves.More than 1 in 5 women and 5 percent of men are sexually assaulted at college, a shocking status quo that might have stayed largely hidden and unaddressed but for the two authors of We Believe You. In 2013, Annie E. Clark and Andrea L. Pino, then 23 and 20, building on the work of earlier activists, outed themselves as assault survivors and filed a federal complaint against the University of North Carolina (Chapel Hill) for mishandling such crimes; within a month, the U.S. government began to investigate UNC. Within a year, dozens of colleges were under federal investigation.But Clark and Pino rightly see themselves as two among many. Students from every kind of college and university--large and small, public and private, highly selective and less so?are sounding alarms and staking claims to justice by filing complaints, by pressing charges, and by simply living beyond the effects of assault and the betrayals of their schools. A sampling of their voices speak out in this book.

    Cultural critic Mithu Sanyal is picking up where Susan Brownmiller left off in her influential 1975 book Against Our Will. In fact, she argues that the way we understand rape hasn't changed since then, even as the world has changed beyond recognition. She contends that it is high time for a new and informed debate about rape, sexual boundaries and consent.Sanyal argues that the way we as a society understand rape tells us not just how we understand sexual violence, but how we understand sex, sexuality, and gender itself. For instance, why is it so hard to imagine men as victims of rape? Why do we expect victims to be irreparably damaged? When we think of rapists, why do we still think of strangers in dark alleys, rather than uncles, husbands, priests, or boyfriends?The book examines the role of race and the trope of the black rapist, the omission of male victims, and what we mean when we talk about rape culture. She provocatively takes every received opinion we have about rape, and turns it inside out - arguing with liberals, conservatives, feminists and sexists alike.

    But unconscious bias holds us back, and de-biasing people s minds has proven to be difficult and expensive. Diversity training programs have had limited success, and individual effort alone often invites backlash. Behavioral design offers a new solution. By de-biasing organizations instead of individuals, we can make smart changes that have big impacts. Presenting research-based solutions, Iris Bohnet hands us the tools we need to move the needle in classrooms and boardrooms, in hiring and promotion, benefiting businesses, governments, and the lives of millions."What Works" is built on new insights into the human mind. It draws on data collected by companies, universities, and governments in Australia, India, Norway, the United Kingdom, the United States, Zambia, and other countries, often in randomized controlled trials. It points out dozens of evidence-based interventions that could be adopted right now and demonstrates how research is addressing gender bias, improving lives and performance. "What Works" shows what more can be done often at shockingly low cost and surprisingly high speed.

    Marisa J. Fuentes creates a portrait of urban Caribbean slavery in this colonial town from the perspective of these women whose stories appear only briefly in historical records. Fuentes takes us through the streets of Bridgetown with an enslaved runaway; inside a brothel run by a freed woman of color; in the midst of a white urban household in sexual chaos; to the gallows where enslaved people were executed; and within violent scenes of enslaved women's punishments. In the process, Fuentes interrogates the archive and its historical production to expose the ongoing effects of white colonial power that constrain what can be known about these women.Combining fragmentary sources with interdisciplinary methodologies that include black feminist theory and critical studies of history and slavery, Dispossessed Lives demonstrates how the construction of the archive marked enslaved women's bodies, in life and in death. By vividly recounting enslaved life through the experiences of individual women and illuminating their conditions of confinement through the legal, sexual, and representational power wielded by slave owners, colonial authorities, and the archive, Fuentes challenges the way we write histories of vulnerable and often invisible subjects.

    Some of these characters remain friends, others are like ex–lovers with whom we no longer have anything in common. All of them bring something out in us that will never go back in the box.’ In a varied and distinguished career, Harriet Walter has played almost all of Shakespeare’s heroines, notably Ophelia, Helena, Portia, Viola, Imogen, Lady Macbeth, Beatrice and Cleopatra, mostly for the Royal Shakespeare Company. But where, she asks, does an actress go after playing Cleopatra’s magnificent death? Why didn’t Shakespeare write more – and more powerful – roles for mature women? For Walter, the solution was to ignore the dictates of centuries of tradition, and to begin playing the mature male characters. Her Brutus in an all–female Julius Caesar at the Donmar Warehouse was widely acclaimed, and was soon followed by Henry IV. What, she asks, can an actress bring to these roles – and is there any fundamental difference in the way they must be played? In Brutus and Other Heroines, Walter discusses each of these roles – both male and female – from the inside, explaining the particular choices she made in preparing and performing each character. Her extraordinarily perceptive and intimate accounts illuminate each play as a whole, offering a treasure trove of valuable insights for theatregoers, scholars and anyone interested in how the plays work on stage. Aspiring actors, too, will discover the many possibilities open to them in playing these magnificent roles. The book is an exploration of the Shakespearean canon through the eyes of a self-identified ‘feminist actor’ – but, above all, a remarkable account of an acting career unconstrained by tradition or expectations. It concludes with an affectionate rebuke to her beloved Will: ‘I cannot imagine a world without you. I just wish you had put more women at the centre of your world/stage… I would love you to come back and do some rewrites.’

    Mary Fields, a fifty-three-year old second-generation slave, emancipated and residing in Toledo, receives news of her friend’s impending death. Remedies packed in her satchel, Mary rushes to board the Northern Pacific. Days later, she arrives in the Montana wilderness to find Mother Mary Amadeus lying on frozen earth in a broken-down cabin. Certain that the cloister of frostbit Ursuline nuns and their students, Indian girls rescued from nearby reservations, will not survive without assistance, Mary decides to stay.She builds a hennery, makes repairs to living quarters, cares for stock, and treks into the mountains to provide food. Brushes with death do not deter her. Mary drives a horse and wagon through perilous terrain and sub zero blizzards to improve the lives of missionaries, homesteaders and Indians and, in the process, her own.After weathering wolf attacks, wagon crashes and treacherous conspiracies by scoundrels, local politicians and the state’s first Catholic bishop, Mary Fields creates another daring plan. An avid patriot, she is determined to register for the vote. The price is high. Will she manifest her personal vision of independence?MIANTAE METCALF MCCONNELL’S RESEARCH enabled USPS historians to verify Mary Fields as the first African American woman star route mail carrier in the United States. A fact-based chronicle of Fields’ life in Montana from 1885 until her death in 1914, the narrative examines women rights, bootleg politics, Montana’s turn-of-the-century transition from territory to state and its scandalous woman suffrage election.PRAISE FOR DELIVERANCE MARY FIELDSMIDWEST BOOK REVIEW“Under McConnell's hand, the atmosphere, frontier challenges, and landscapes of Montana come to life. Mary Fields is a true historical figure, dramatized in novel format. Her story will delight readers who look for a blend of accurate historical facts, hard-hitting drama, and realistic scenes powered by a feisty protagonist whose values and concerns become part of the social changes sweeping the nation.”—Diane Donovan, Midwest Book Reviewer & Editor, California BookwatchMcConnell has fashioned a historical narrative marrying prose and poetry, fact with creative writing. With the discerning eye of a photographer, the deft hand of a historian, and the literary heart of a poet, the life of Mary Fields, legendary black woman of Montana, rises off the page into living history. If the reader has any interest in Mary Fields, aka Stagecoach Mary, Deliverance is the one book you must read.—Cowboy Mike Searles, Author, Professor of History, Augusta University, GA.A great story and history of Mary Fields, an important black westerner. A must read for youths and adults. —Bruce A. Glasrud, Author, Specialist Black American West History, Professor, California State University.

    African & African American Studies. "I get this pinwheel relationship to wisdom & history when I read Simone White. I'm in her dream, but it's a remarkable solidly packed one informed by the quotidian rarity of for instance a prose disquisition on lotion and skin and haircare especially in winter. Like Dana Ward's, her work sends me searching. Like what part of speech is here. As I'm wondering Simone sometimes exits first, and I even feel that a real piece of her poem is adamantly not here and that is her privacy, her power & her skill so what kind of quest is it, this beautiful complex & alive work. Here's my best guess. OF BEING DISPERSED is an ur text of the fourth wave of feminism which we come to realize is ocean and women are now standing on it and amidst this clatter of voices Simone White walks." Eileen Myles "In Simone White's poetry the action is always multiple, palpable, sounding as thought, coming forward through this highly sensitized plane, sudden and hovering, exchanging centers, afflicted and added to by company. The continuous listening company demands company including imaginary self, receding boundaries, the horseman on the night's street, the live, the loved, the drunk, the words, the turnstile, the endless destructive projections people force and the rendering of that listening into irreducible depths of tone, wit, and perception constitute much of what makes OF BEING DISPERSED a masterful book. Buzzing word-love marking time beat by beat, being the ground inside and out, makes up the rest." Anselm Berrigan "Macaronic plenitude of language instantiates places and states of mind. If Edouard Glissant says that we write in the presence of all the world's languages, then we have in Simone White's OF BEING DISPERSED, an underground stream reaching the surface of the page in lines acrobatic and limber, fluent in code switch, mood shift and modes of inquiry. I read White's volume as a poetic lens on the specificities of the diaspora and the 'dispersed, ' written with baroque skepticism, feminist vision and attention to the complications of a Black yet to be storyed any/where." Erica Hunt"

    Yet the number of women working as architects remains stubbornly low, and the higher one looks in the profession, the scarcer women become. Law and medicine, two equally demanding and traditionally male professions, have been much more successful in retaining and integrating women. So why do women still struggle to keep a toehold in architecture? Where Are the Women Architects? tells the story of women's stagnating numbers in a profession that remains a male citadel, and explores how a new generation of activists is fighting back, grabbing headlines, and building coalitions that promise to bring about change.Despina Stratigakos's provocative examination of the past, current, and potential future roles of women in the profession begins with the backstory, revealing how the field has dodged the question of women's absence since the nineteenth century. It then turns to the status of women in architecture today, and the serious, entrenched hurdles they face. But the story isn't without hope, and the book documents the rise of new advocates who are challenging the profession's boys' club, from its male-dominated elite prizes to the erasure of women architects from Wikipedia. These advocates include Stratigakos herself and here she also tells the story of her involvement in the controversial creation of Architect Barbie.Accessible, frank, and lively, Where Are the Women Architects? will be a revelation for readers far beyond the world of architecture.-- "Books in Brief"

    She was particularly struck by Laqueur’s bold assertion: “More words have been shed, I suspect, about the clitoris, than about any other organ, or at least, any organ its size.” How was it possible that Hall had been reading compulsively for years and never once stumbled upon this trove of prose devoted to the clit? If Lacquer’s claim was correct, where were all these “words”? And more: what did size have to do with it? Hall set out to find all that had been written about the clit past and present. As she soon discovered, the history of the clitoris is no ordinary tale; rather, its history is marked by the act of forgetting.ADVANCED PRAISE In her marvelously researched and sculpted essay/memoir, Elizabeth Hall convinces me that clitoral stimulation is my birthright, a supreme act reaching back to the origins of sensation, connecting me to all my animal sisters: artist, poet, hyena, dolphin. What a thrilling world Hall constructs, her bulleted points rat-tat-tatting the patriarchy, strobing with pleasure. — Dodie Bellamy, author of When the Sick Rule the World and Cunt Norton The unfolding of relationships between, among many other details, Freud, terra cotta cunts, hyenas, anatomists, and Acker, mixed with a certain slant of light on a windowsill and a leg thrown open invite us into this intricately structured catalogue of clit. “I started with a question: what does the body want? And ended with: it wants.” The investigation does not stop there. Elizabeth Hall’s prose builds quietly into a denouement that is as cerebral and corporeal as it is bawdy and beautiful. — Wendy C. Ortiz, author of Excavation: A Memoir and Hollywood Notebook “I am never bored by a body,” says Elizabeth Hall, in this gorgeous little book about a gorgeous little organ. Hall’s restless unearthing of the clitoris’s hidden history mines discourses as varied as sexology, plastic surgery, literature and feminism to produce an eye-opening compendium, stitched together with wit, lyricism and desire. In this spirited collection of telling details and revelatory insights, the “tender button” finally gets its due. — Janet Sarbanes, author of People of the Pancake and Army of One “God this book is glorious. I’m so grateful to Elizabeth Hall for her devotion–scholarly and bodily– alive in this rigorous, lyrical exploration of a most under-written organ. In this far-ranging meditation and investigation, Hall moves elegantly from Marie Bonaparte to the female hyena to contemporary heroes like Kathy Acker and Holly Hughes, asking over and over again: what is it to have a body? How do we read our way into and through that body? Hall shows us how, in dizzying, thrilling detail; you will learn and laugh and wonder why it took you so long to find this book. ” — Suzanne Scanlon, author of Her 37th Year, An Index and Promising Young Women

    The Bitter Life of Božena Němcová is a biographical collage of found texts, footnotes, fragments, and images by and about the Czech fairy tale writer, whom Milan Kundera calls the “Mother of Czech Prose.” Kelcey Parker Ervick’s innovative collage form, with its many voices and viewpoints, questions the concept of biographical “truth” while also revealing a nuanced and spellbinding portrait of Němcová. Inspired by Němcová’s letters, the book’s second section, “Postcards to Božena” is Parker Ervick’s epistolary memoir of her own failing marriage, her quest for a Czech typewriter, and a meditation on reading, writing, and happy endings. The two sections combine to create a book as defiant, enchanting, and complex as its namesake.

    Historically, women have been instrumental in moving the essay to center stage, and Waveform continues this rich tradition, further expanding the dynamic genre s boundaries and testing its edges. With thirty essays by thirty distinguished and diverse women writers, this carefully constructed anthology incorporates works ranging from the traditional to the experimental.Waveform champions the diversity of women s approaches to the structure ofthe essay today a site of invention and innovation, with experiments in collage, fragments, segmentation, braids, triptychs, and diptychs. Focused on these explorations of form, Waveform is not wed to a fixed theme or even to women s experiences per se. It is not driven by subject matter but highlights the writers interaction with all manner of subject and circumstance through style, voice, tone, and structure.This anthology presents some of the women who are shaping the essay today, mapping an ever-changing landscape. It is designed to place essays recently written by women such as Roxane Gay, Cheryl Strayed, Margo Jefferson, Jaquira Diaz, and Eula Biss into the hands of those who have been waiting patiently for something they could equally claim as their own.Contributors: Marcia Aldrich, Jocelyn Bartkevicius, Chelsea Biondolillo, Eula Biss, Barrie Jean Borich, Joy Castro, Meghan Daum, Jaquira Diaz, Laurie Lynn Drummond, Patricia Foster, Roxane Gay, Leslie Jamison, Margo Jefferson, Sonja Livingston, Alexandria Marzano-Lesnevich, Brenda Miller, Michele Morano, Kyoko Mori, Bich Minh Nguyen, Adriana Paramo, Jericho Parms, Torrey Peters, Kristen Radtke, Wendy Rawlings, Cheryl Strayed, Dana Tommasino, Sarah Valentine, Neela Vaswani, Nicole Walker, Amy Wright"

    The reader brings together writings as old as 1883 and as recent as 2015, juxtaposing nihilist, radical feminist, queer, trans, anticolonial, communizing and insurrectionary approaches with other unclassifiable textual/existential disruptions. Many of the readings are out of print or have only appeared online or in zine form, and include: Adrienne Rich, Monique Wittig, Michel Foucault, Judith Butler, A.R. Stone, Paul B. Preciado, the entities known as Radicalesbians, Gender Mutiny, Baedan, Ehn Nothing, Laboria Cuboniks and, as always, Anonymous. Also includes "My Preferred Gender Pronoun is Negation", "Gender Nihilism" by Aidan Rowe, and the gender nihilism anti-manifesto that inspired the collection.

    Fusing together gender and feminist theory, critical body studies, political activism, and menstrual anarchy, Breanne Fahs illuminates the troubling omissions of menstrual coming-of-age narratives in the museum, the outdated terminology of "feminine hygiene," and the moral panics about blood that erupts from in and outside of our bathrooms, classrooms, and cell phones. Borrowing from a multitude of voices--single moms, trans teenagers, zine makers, menstrual artists, college students, tour guides, French philosophers, and culture jammers--Fahs forcefully argues for a new culture of menstruation, one where the joys, rhythms, and controversies of menstrual cycles collides with the defiant, shameless, and bold new possibilities of menstrual resistance.

    But what exactly does it mean, and why has it emerged as such a vital lens through which to explore how social inequalities of race, class, gender, sexuality, age, ability and ethnicity shape one another?In this new book Patricia Hill Collins and Sirma Bilge provide a much-needed, introduction to the field of intersectional knowledge and praxis. They analyze the emergence, growth and contours of the concept and show how intersectional frameworks speak to topics as diverse as human rights, neoliberalism, identity politics, immigration, hip hop, global social protest, diversity, digital media, Black feminism in Brazil, violence and World Cup soccer. Accessibly written and drawing on a plethora of lively examples to illustrate its arguments, the book highlights intersectionality's potential for understanding inequality and bringing about social justice oriented change.Intersectionality will be an invaluable resource for anyone grappling with the main ideas, debates and new directions in this field.

    Revathi’s memoir The Truth about Me became a sensation in India when it was published in 2011. The pathbreaking autobiography told the story of Revathi’s childhood uneasiness with her male body, her exile to a house of hijras (the South Asian term for trans people) in Delhi, and her eventual transition. Now in her second book, Revathi: A Life in Trans Activism, Revathi opens up once again, telling the story of her life as an activist. In the Thiruchengode temple, with the hills of the Ardhanareeshwara as her backdrop, Revathi begins a conversation about what it means to live on the margins of society. She shares stories about her life working for the NGO, Sangama, which helps transgender people, and her remarkable journey there from office assistant to director. She describes her research into the lives of those who make the transition from female to male identity; her efforts to provide a voice to those who do not fit the gender binary; and her travels around the world to discuss the community’s experience. Revathi also sheds light on her decision to quit Sangama and continue her struggle as an independent activist—including her collaboration with a theater group performing a play based on her autobiography. As told to Nandini Murali, Revathi: A Life in Trans Activism provides insight  into one of the least talked about subjects in our society—from the point of view of a person most qualified to talk about it. This is a rare and searingly honest account of Revathi’s life—on both sides of the gender binary.

    A call to all of us who have allowed activism to be defined as something that other people do, to those of us who have orphaned our voice and our story, and to every woman and man who has struggled or borne witness to injustices that left their hearts flooded with truth and stories that need to be spoken.When We Are Bold: Women Who Turn Our UpsideDown World Right is a collection of 28 short profiles of women who boldly work for change by the women writers, thinkers and doers they inspire. This unique collection will bring you up-close and personal to famous women from around the world – including Jane Goodall, Nawal El Saadawi, Gloria Steinem and Wangari Maathai — as well as to women who should be famous. These stories, and the women who tell them, are proof that ordinary women do extraordinary things.

    This research has for the most part been conducted by scholars operating within Western epistemological frameworks that tend not only to deny the subjectivity of knowledge but also to privilege masculine authority. As a result, the information gathered predominantly reflects the types of knowledge traditionally held by men, yielding a perspective that is at once gendered and incomplete. Even those academics, communities, and governments interested in consulting with Indigenous peoples for the purposes of planning, monitoring, and managing land use have largely ignored the knowledge traditionally produced, preserved, and transmitted by Indigenous women. While this omission reflects patriarchal assumptions, it may also be the result of the reductionist tendencies of researchers, who have attempted to organize Indigenous knowledge so as to align it with Western scientific categories, and of policy makers, who have sought to deploy such knowledge in the service of external priorities. Such efforts to apply Indigenous knowledge have had the effect of abstracting this knowledge from place as well as from the world view and community - and by extension the gender - to which it is inextricably connected.Living on the Land examines how patriarchy, gender, and colonialism have shaped the experiences of Indigenous women as both knowers and producers of knowledge. From a variety of methodological perspectives, contributors to the volume explore the nature and scope of Indigenous women's knowledge, its rootedness in relationships both human and spiritual, and its inseparability from land and landscape. From the reconstruction of cultural and ecological heritage by Naskapi women in Qu?bec to the medical expertise of M?tis women in western Canada to the mapping and securing of land rights in Nicaragua, Living on the Land focuses on the integral role of women as stewards of the land and governors of the community. Together, these contributions point to a distinctive set of challenges and possibilities for Indigenous women and their communities.

    Its student-centered rhetorical approach and pedagogical features--including an engaging image program, prompts for activism, a comprehensive glossary, appendices of key terms, annotated bibliographies for additional reading, and Feminisms in Brief--aid students in assimilating fundamental women's and gender studies terms and concepts. While it is a textbook and not an anthology, Introduction to Women's and Gender Studies adopts the best facets of the anthology approach: it includes discussions of frequently anthologized writers and writing that is more engaging and narrative in style than traditional textbooks. The book systematically covers core interdisciplinary concepts so that students are prepared for women's and gender studies courses in a variety of disciplines.

     From their first meeting in 1960, writer Hettie Jones—then married to LeRoi Jones (Amiri Baraka)—and painter and sculptor Helene Dorn (1927–2004), wife of poet Ed Dorn, found in each other more than friendship. They were each other's confidant, emotional support, and unflagging partner through difficulties, defeats, and victories, from surviving divorce and struggling as single mothers, to finding artistic success in their own right.   Revealing the intimacy of lifelong friends, these letters tell two stories from the shared point of view of women who refused to go along with society’s expectations. Jones frames her and Helene's story, adding details and explanations while filling in gaps in the narrative. As she writes, "we'd fled the norm for women then, because to live it would have been a kind of death."  Apart from these two personal stories, there are, as well, reports from the battlegrounds of women's rights and tenant's rights, reflections on marriage and motherhood, and contemplation of the past to which these two had remained irrevocably connected. Prominent figures such as Allen Ginsberg and Timothy Leary appear as well, making Love, H an important addition to literature on the Beats.   Above all, this book is a record of the changing lives of women artists as the twentieth century became the twenty-first, and what it has meant for women considering such a life today. It's worth a try, Jones and Dorn show us, offering their lives as proof that it can be done.

    B. Christine Arce unravels the stunning paradox evident in the simultaneous erasure (in official circles) and ongoing fascination (in the popular imagination) with the nameless people who both define and fall outside of traditional norms of national identity. The book traces the legacy of these extraordinary figures in popular histories and legends, the Inquisition, ballads such as “La Adelita” and “La Cucaracha,” iconic performers like Toña la Negra, and musical genres such as the son jarocho and danzón. This study is the first of its kind to draw attention to art’s crucial role in bearing witness to the rich heritage of blacks and women in contemporary México.B. Christine Arce is Assistant Professor of Latin American Literature and Culture at the University of Miami.

    Together the essays examine how "the unnatural" came to inscribe certain sexual acts and desires as criminal and sinful, including acts officially deemed to be "against nature"--sodomy, bestiality, and masturbation--along with others that approximated the unnatural--hermaphroditism, incest, sex with the devil, solicitation in the confessional, erotic religious visions, and the desecration of holy images. In doing so, this anthology makes important and necessary contributions to the historiography of gender and sexuality. Amid the growing politicized interest in broader LGBTQ movements in Latin America, the essays also show how these legal codes endured to make their way into post-independence Latin America.

    Reframing Laura Mulvey's and Gilles Deleuze's paradigms and offering close readings grounded in psychoanalysis and queer theory, David Greven examines several key films and genre trends from the late 1990s forward. Movies considered range from the slasher film Scream to bromances and beta male comedies such as I Love You, Man to dramas such as Donnie Darko and 25th Hour to Rob Zombie's remake of the horror film Halloween. Greven also traces the disturbing connections between torture porn found in such films as Hostel and gay male Internet pornography.

    While some consider her an icon of female empowerment, others see her as detrimental to feminism and representing a negative image of women of color. Her music has a decidedly pop aesthetic, yet her power-house vocals and lyrics focused on issues like feminine independence, healthy sexuality and post-partum depression give her songs dimension and substance beyond typical pop fare. This collection of new essays presents a detailed study of the music and persona of Beyonce--arguably the world's biggest pop star. Topics include the body politics of respectability; feminism, empowerment and gender in Beyonce's lyrics; black female pleasure; and the changing face of celebrity motherhood.

    Beginning with an extensive introduction that charts important theoretical contributions to the field, this History includes wide-ranging essays that illuminate the legacy of American women poets. Organized thematically, these essays survey the multilayered verse of such diverse poets as Edna St Vincent Millay, Marianne Moore, Anne Sexton, Adrienne Rich, and Audre Lorde. Written by a host of leading scholars, this History also devotes special attention to the lasting significance of feminist literary criticism. This book is of pivotal importance to the development of women's poetry in America and will serve as an invaluable reference for specialists and students alike.

    It addresses the complex relationship between pornography and medicine (in particular, sexology and psycho-therapy) whereby medicine has historically, and currently, afforded pornography considerable legitimacy and even authority. Pornography naturalises womens submission and mens dominance as if gendered power is rooted in biology not politics. In contrast to the populist view that medicine is objective and rational, the contributors here demonstrate that medicine has been complicit with the construction of gender difference, and in that construction the relationship with pornography is not incidental but fundamental. A range of theoretical approaches critically engages with this topic in the light, firstly, of radical feminist ideas about patriarchy and the politics of gender, and, secondly, of the rapidly changing conditions of global capitalism and digital-technologies. In its broad approach, the book also engages with the ideas of Michel Foucault, particularly his refutation of the liberal hypothesis that sexuality is a deep biological and psychological human property which is repressed by traditional, patriarchal discourses and which can be freed from authoritarianism, for example by producing and consuming pornography.In taking pornography as a cultural and social phenomenon, the concepts brought to bear by the contributors critically scrutinise not only pornography and medicine, but also current media scholarship. The 21st century has witnessed a growth in (neo-)liberal academic literature which is pro-pornography. This book provides a critical counterpoint to this current academic tren

    Whether you’ve never heard of furries before or you’ve been a furry for decades, you’re sure to learn something from this book!Download from: http://furscience.com/wp-content/uplo...

    The volume maps some of the specifically local issues as well as the common ones affecting queer/trans people of colour (qtpoc). The contributions are not delimited by traditional academic style but rather draw on creative inspiration to produce knowledge and insight through various styles and formats, including poetry, essays, statements, manifestos, as well as academic mash-ups. Queering coloniality and the epistemic categories that classify people means to disobey and delink from the coloniality of knowledge and of being. At this intersection, decolonial queerness is necessary not only to resist coloniality but, above all, to re-exist and re-emerge decolonially."The volume is more than timely. First, it contributes to the field of decolonial queer theory, second it offers a transnational approach, third it never seeks to fix categories, and finally, and more importantly, it centred on narratives of solidarity and alliance which are so important today in a world under the assault of financial capitalism, new politics of dispossession and colonization, and new politics of division and fragmentation." -- FranCoise Verges (Chair Global South(s), College d'Etudes mondiales, Paris)"The brave and thoughtful pieces in this book span across 'intellectual' and 'artistic' categorisations, and together make an important contribution not only to the field of sexuality/queer studies, but also to the ongoing battle to keep such studies from racist cooptation." -- Dr Sarah Keenan, Lecturer in Law, Birkbeck, University of London."The range and depth of these contributions make this an invaluable resource for students and researchers alike. Above all, these essays highlight the fact that we can no longer assume or theorize an LGBT identity or politics that is constituted outside of racialization, coloniality, place and time." -- Momin Rahman (Professor of Sociology, Trent University, Canada)"In a world in which colonialism and neocolonialism make their marks on sexuality as well as race and class, this rich volume shows that decolonial thinking and doing cannot be done without an attention to queer politics." -- Roderick A. Ferguson, Aberrations in Black: Toward a Queer of Color Critique

    Exploring the ways in which trans issues are addressed within feminist and women’s organizations and social movements around the world, contributors ask how trans, genderqueer, and nonbinary issues are related to feminist movements today, what kind of work is currently undertaken in the name of trans/feminism, what new paradigms and visions are emerging, and what questions still need to be taken up. Central to this special issue is the recognition that trans/feminist politics cannot restrict itself to the domain of gender alone.This issue features numerous shorter works that represent the diversity of trans/feminist practices and problematics and, in addition to original research articles, includes theory, reports, manifestos, opinion pieces, reviews, and creative/artistic productions, as well as republished key documents of trans/feminist history and international scholarship.Contributors: Miriam Abelson, Sara Ahmed, Aitzole Araneta, Alexandre Baril, Marie-Hélène/Sam Bourcier, micha cárdenas, Daniel Chávez, Jeanne Córdova, Pedro J. DiPietro, Lucía Egaña, A. Finn Enke, Karine Espineira, Sandra Fernández, Simon D. Fisher, Tania Hammidi, Christoph Hanssmann, Emma Louise Heaney, Hailey Kaas, Cael Keegan, Faris Khan, Yana Kirey-Sitnikova, Terence Kumpf, Riki Lane, Helen Hok-Sze Leung, Claudia Sofia Garriga López, Tommi Avicolli Mecca, L. Leigh Ann van der Merwe, Scott Morgensen, Marcio Jose Ornat, Ruin S. M. Pae, José Quiroga, Naomi Scheman, Joseli Maria Silva, reese simpkins, Miriam Solá, Sandy Stone, Stefania Voli, Rinaldo Walcott, Lori Watson, Cristan Williams, Shana Ye, Asli Zengin

    Kennedy’s allure was more akin to a movie star than a presidential candidate. Why were Americans so attracted to Kennedy in the late 1950s and early 1960s ― his glamorous image, good looks, cool style, tough-minded rhetoric, and sex appeal?As Steve Watts argues, JFK was tailor made for the cultural atmosphere of his time. He benefited from a crisis of manhood that had welled up in postwar America when men had become ensnared by bureaucracy, softened by suburban comfort, and emasculated by a generation of newly-aggressive women. Kennedy appeared to revive the modern American man as youthful and vigorous, masculine and athletic, and a sexual conquistador. His cultural crusade involved other prominent figures, including Frank Sinatra, Norman Mailer, Ian Fleming, Hugh Hefner, Ben Bradlee, Kirk Douglas, and Tony Curtis, who collectively symbolized masculine regeneration. 'JFK and the Masculine Mystique' is not just another standard biography of the youthful president. By examining Kennedy in the context of certain books, movies, social critiques, music, and cultural discussions that framed his ascendancy, Watts shows us the excitement and sense of possibility, the optimism and aspirations, that accompanied the dawn of a new age in America.

    Whether brought about by media and cultural attention or personal journeys, individuals who have never heard of transgender, transsexual, or gender variant people can feel lost or confused. Information can be hard to find, and is often fragmented or biased. Meanwhile, trans people are getting a chance to dialogue with each other and finally be heard by the world at large.  In Traversing Gender: Understanding Transgender Realities, author Lee Harrington helps make the intimate discussions of gender available for everyone to understand. Topics include:  - Understanding the terms “trans” and “transgender” - Differences (and crossovers) between sex, gender, and orientation - The wide array and types of trans experiences - Social networking and emotional support systems for trans people - Navigating medical care, from the common cold to gender-specific procedures - What “transitioning” looks like, from a variety of different approaches - How legal systems interplay with gender and trans issues - Extra challenges based on gender, race, class, age and disability - Skills and information on being successful a trans ally  Bringing these personal matters into the light of day, this reader-friendly resource is written for students, professionals, friends, and family members, as well as members of the transgender community itself. It is here for you and those in your life, helping create an opportunity for overcoming the challenges trans people face through awareness and action, making the world a better place one life at a time.

    The study turns its attention to the significant paradigm shift in the narratives on intersex that occurred within early 1990s intersex activism in response to biopolitical regulations of intersex bodies.Focusing on the emergence of recent autobiographical stories and cultural productions like novels and TV series centering around intersex, Viola Amato provides a first systematic analysis of an activism-triggered resignification of intersex.