Their niece, Lois Farquar, attempts to live her own life and gain her own freedoms from the very class that her elders are vainly defending. The Last September depicts the tensions between love and the longing for freedom, between tradition and the terrifying prospect of independence, both political and spiritual.

    Increasingly fascinated by this most shameful of experiences, she began to explore the lonely city by way of art. Moving fluidly between works and lives -- from Edward Hopper's Nighthawks to Andy Warhol's Time Capsules, from Henry Darger's hoarding to the depredations of the AIDS crisis -- Laing conducts an electric, dazzling investigation into what it means to be alone, illuminating not only the causes of loneliness but also how it might be resisted and redeemed.

    Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Anzaldua is a rebellious and willful talent who recognizes that life on the border, "life in the shadows," is vital territory for both literature and civilization. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues.

    Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.

    A Russian Jewish immigrant at the age of 17, she moved by her own efforts from seamstress in a clothing factory to internationally known radical lecturer, writer, editor and friend of the oppressed. This book is a collection of her remarkably penetrating essays, far in advance of their time, originally published by the Mother Earth press which she founded.In the first of these essays, Anarchism: What It Really Stands For, she says, "Direct action, having proven effective along economic lines, is equally potent in the environment of the individual." In Minorities Versus Majorities she holds that social and economic well-being will result only through "the non-compromising determination of intelligent minorities, and not through the mass." Other pieces deal with The Hypocrisy of Puritanism; Prisons: A Social Crim and Failure; The Psychology of Political Violence—note the relevence of these themes to our own time; The Drama: A Powerful Disseminator of Radical Thought; Patriotism: A Menace to Liberty; and The Tragedy of Woman's Emancipation. A biographical sketch by Hippolyte Havel precedes the essays.Anarchism and Other Essays provides a fascinating look into revolutionary issues at the turn of the century, a prophetic view of the social and economic future, much of which we have seen take place, and above all, a glimpse into the mind of an extraordinary woman: brilliant, provocative, dedicated, passionate, and what used to be called "high-minded."Unabridged republication of the 3rd (1917) edition, with a new Introduction by Richard Drinnon. Frontispiece. xv + 271 pp. 5-3/8 x 8-1/2. Paperbound.

    They are told that in the name of sexual consent and feminist empowerment, they must proclaim their desires clearly and confidently. Sex researchers tell us that women don't know what they want. And men are on hand to persuade women that what they want is, in fact, exactly what men want. In this environment, how can women possibly know what they want—and how can they be expected to?In this elegantly written, searching book Katherine Angel surveys medical and psychoanalytic understandings of female desire, from Freud to Kinsey to present-day science; MeToo-era debates over consent, assault, and feminism; and popular culture, TV, and film to challenge our assumptions about female desire. Why, she asks, do we expect desire to be easily understood? Why is there not space for the unsure, the tentative, the maybe, the let's just see? In contrast to the endless exhortation to know what we want, Angel proposes that sex can be a conversation, requiring insight, interaction, and mutual vulnerability—a shared collaboration into the unknown.In this crucial moment of renewed attention to violence and power, Angel urges that we remake our thinking about sex, pleasure, and autonomy without any illusions of perfect self-knowledge. Only then will we bring about Michel Foucault's sardonic promise, in 1976, that "tomorrow sex will be good again."

    Kurtz. What he sees on his journey, and his eventual encounter with Kurtz, horrify and perplex him, and call into question the very bases of civilization and human nature. Endlessly reinterpreted by critics and adapted for film, radio, and television, the story shows Conrad at his most intense and sophisticated. The other three tales in this volume depict corruption and obsession, and question racial assumptions. Set in the exotic surroundings of Africa, Malaysia, and the east, they variously appraise the glamour, folly, and rapacity of imperial adventure. This revised edition uses the English first edition texts and has a new chronology and bibliography.

    The response was tremendous — clearly she articulated something many women had sensed for years: the problem is with capitalism, not with us.Ghodsee, an acclaimed ethnographer and professor of Russian and East European Studies, spent years researching what happened to women in countries that transitioned from state socialism to capitalism. She argues here that unregulated capitalism disproportionately harms women, and that we should learn from the past. By rejecting the bad and salvaging the good, we can adapt some socialist ideas to the 21st century and improve our lives.She tackles all aspects of a woman's life - work, parenting, sex and relationships, citizenship, and leadership. In a chapter called "Women: Like Men, But Cheaper," she talks about women in the workplace, discussing everything from the wage gap to harassment and discrimination. In "What To Expect When You're Expecting Exploitation," she addresses motherhood and how "having it all" is impossible under capitalism.Women are standing up for themselves like never before, from the increase in the number of women running for office to the women's march to the long-overdue public outcry against sexual harassment. Interest in socialism is also on the rise -- whether it's the popularity of Bernie Sanders or the skyrocketing membership numbers of the Democratic Socialists of America. It's become increasingly clear to women that capitalism isn't working for us, and Ghodsee is the informed, lively guide who can show us the way forward.

    Building on legacies of feminist of color scholarship in particular, Ahmed offers a poetic and personal meditation on how feminists become estranged from worlds they critique—often by naming and calling attention to problems—and how feminists learn about worlds from their efforts to transform them. Ahmed also provides her most sustained commentary on the figure of the feminist killjoy introduced in her earlier work while showing how feminists create inventive solutions—such as forming support systems—to survive the shattering experiences of facing the walls of racism and sexism. The killjoy survival kit and killjoy manifesto, with which the book concludes, supply practical tools for how to live a feminist life, thereby strengthening the ties between the inventive creation of feminist theory and living a life that sustains it.

    She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

    Formulating the principles of dialectical materialism, they believed that labor creates wealth, hence capitalism is exploitive and antithetical to freedom.This new edition includes an extensive introduction by Gareth Stedman Jones, Britain's leading expert on Marx and Marxism, providing a complete course for students of The Communist Manifesto, and demonstrating not only the historical importance of the text, but also its place in the world today.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    Men from Aristotle to Freud have insisted that women are freakish creatures, capable of immense destruction. Maybe they are. And maybe that’s a good thing.... Sady Doyle, hailed as “smart, funny and fearless” by the Boston Globe, takes readers on a tour of the female dark side, from the biblical Lilith to Dracula’s Lucy Westenra, from the T-Rex in Jurassic Park to the teen witches of The Craft. She illuminates the women who have shaped our nightmares: Serial killer Ed Gein’s “domineering” mother Augusta; exorcism casualty Anneliese Michel, starving herself to death to quell her demons; author Mary Shelley, dreaming her dead child back to life. These monsters embody patriarchal fear of women, and illustrate the violence with which men enforce traditionally feminine roles. They also speak to the primal threat of a woman who takes back her power. In a dark and dangerous world, Dead Blondes and Bad Mothers asks women to look to monsters for the ferocity we all need to survive. “Some people take a scalpel to the heart of media culture; Sady Doyle brings a bone saw, a melon baller, and a machete.”—Andi Zeisler, author of We Were Feminists Once

    Actual opening line of the novel is: "To J. Halford, Esq. Dear Halford, when we were together last..."This is the story of a woman's struggle for independence. Helen "Graham" has returned to Wildfell Hall in flight from a disastrous marriage. Exiled to the desolate moorland mansion, she adopts an assumed name and earns her living as a painter.

    Unlike the "New Woman" novels of the era which challenged the idea that the unmarried woman was superfluous, Gissing satirizes that image and portrays women as "odd" and marginal in relation to an ideal. Set in a grimy, fog-ridden London, Gissing's "odd" women range from the idealistic, financially self-sufficient Mary Barfoot to the Madden sisters who struggle to subsist in low paying jobs and little chance for joy. With narrative detachment, Gissing portrays contemporary society's blatant ambivalence towards its own period of transition. Judged by contemporary critics to be as provocative as Zola and Ibsen, Gissing produced an "intensely modern" work as the issues it raises remain the subject of contemporary debate.

    Interviews with a Guatemalan national leader discuss her country's political situation and the resulting violence, which has claimed the lives of her brother, mother, and father.