In this rigorously researched book, based on 600 detailed interviews with women and some men across India's metros, social scientist Deepa Narayan identifies seven key habits that may dominate women's everyday lives, despite their education, success, financial status and family background. These behaviours may seem harmless, but each one has enormous impact, and it means only one thing - that Indian women are trained to habitually delete themselves. Shocking, troubling and revolutionary, Chup will hold a mirror to yourself - and you may not like what you see.

    Period. is an agenda-setting manifesto to remove the stigma and myths continuing to surround the female body. Bold and unapologetic, Emma Barnett is on a crusade to ignite conversation among women--and men--everywhere.

    My goals were noble but my concerns were trivial. I desperately wanted to close the pay gap, but I also wanted to look good sitting down naked.From inclusion to the secret autonomy in rom-coms, from effective activism to what poker can tell us about power structures, Deborah explores what it means to be a twenty-first-century feminist, and encourages us to make the world better for everyone.The book also includes exclusive interviews with performers, activists and thinkers - Jessamyn Stanley, Zoe Coombs Marr, Susan Wokoma, Bisha K. Ali, Reubs Walsh, Becca Bunce, Amika George, Mo Mansfied and Leyla Hussein - plus a piece from Hannah Gadsby.

    For many, filing the suit was a radicalizing act that empowered them to "find themselves" and stake a claim. Others lost their way in a landscape of opportunities, pressures, discouragements, and hostilities they weren't prepared to navigate.With warmth, humor, and perspective, the book also explores why changes in the law did not change everything for today's young women.

    Ranging from neo-Conceptual artworks to broader forms of cultural criticism, these rare texts are brought together in this volume for the first time, placing Gordon’s writing within the context of the artist-critics of her generation, including Mike Kelley, John Miller, and Dan Graham. In addressing key stakes within contemporary art, architecture, music, and the performance of male and female gender roles, Gordon provides a prescient analysis of such figures as Kelley, Glenn Branca, Rhys Chatham, Tony Oursler, and Raymond Pettibon, in addition to reflecting on her own position as a woman on stage. The result—Is It My Body?—is a collection that feels as timely now as when it was written. This volume additionally features a conversation between Gordon and Jutta Koether, in which they discuss their collaborations in art, music, and performance.

    Just like our marriage." So opens Meg Wolitzer's compelling and provocative novel The Wife, as Joan Castleman sits beside her husband on their flight to Helsinki. Joan's husband, Joseph Castleman, is "one of those men who own the world...who has no idea how to take care of himself or anyone else, and who derives much of his style from the Dylan Thomas Handbook of Personal Hygiene and Etiquette." He is also one of America's preeminent novelists, about to receive a prestigious international award to honor his accomplishments, and Joan, who has spent forty years subjugating her own literary talents to fan the flames of his career, has finally decided to stop. From this gripping opening, Wolitzer flashes back fifty years to 1950s Smith College and Greenwich Village -- the beginning of the Castleman relationship -- and follows the course of the famous marriage that has brought them to this breaking point, culminating in a shocking ending that outs a carefully kept secret. Wolitzer's most important and ambitious book to date, The Wife is a wise, sharp-eyed, compulsively readable story about a woman forced to confront the sacrifices she's made in order to achieve the life she thought she wanted. But it's also an unusually candid look at the choices all men and women make for themselves, in marriage, work, and life. With her skillful storytelling and pitch-perfect observations, Wolitzer invites intriguing questions about the nature of partnership and the precarious position of an ambitious woman in a man's world.

    They told you to wear longer skirts, avoid going out late at night and move in groups - never accept drinks from a stranger, and wear shoes you can run in more easily than heels. They told you to wear just enough make-up to look presentable but not enough to be a slut; to dress to flatter your apple, pear, hourglass figure, but not to be too tarty. They warned you that if you try to be strong, or take control, you'll be shrill, bossy, a ballbreaker. Of course it's fine for the boys, but you should know your place. They told you 'that's not for girls' - 'take it as a compliment' - 'don't rock the boat' - 'that'll go straight to your hips'. They told you 'beauty is on the inside', but you knew they didn't really mean it. Well screw that. I'm here to tell you something else. Hilarious, jaunty and bold, GIRL UP exposes the truth about the pressures surrounding body image, the false representations in media, the complexities of a sex and relationships, the trials of social media and all the other lies they told us. 'Bates takes a myth-busting approach to body image, food, sex and advertising, and is particularly good at boiling down feminist language into a snappy, everyday vernacular without diluting its power.' Metro 'Essential reading for young women and girls, Girl Up is set to become a key guiding text for the next generation like The Beauty Myth and The Feminine Mystique have for preceding generations. Morning Star Online It's hardly headline news that feminism can be funny. But, heavens, is it refreshing to see it done as well as it is [in this book]. Telegraph 'Girl Up is something between a self-help book and a bracing love letter to today's teenage girls...I wish I'd had Girl Up when I was growing up. I could have used such no-nonsense survival g

    It is also the story of a boy who, exiled from the island because he could not abide by its sexist laws, looks back with both nostalgia and bitterness and wonders: Why does God have to be a woman? Celebrated prose poet Nin Andrews creates a world both fantastic and familiar where all the myths, logic, and institutions support the dominance of women.Nin Andrews's books include The Book of Orgasms and Sleeping with Houdini.

    When you learn about women in history, it's hard not to wonder: why do they all seem so prim and proper? The truth is, you're probably not being told the whole story. Also, (mostly male) historians keep leaving out or glossing over some of the most badass women who ever walked the surface of this planet. Fake news! But fret not. Former Buzzfeed senior writer and Washington Post pop culture host Hannah Jewell has got you covered. In 100 Nasty Women of History, Hannah will spill the tea on:-the women with impressive kill counts-the women who wrote dangerous things-the women who fought empires and racists-the women who knew how to have a good-ass time-the women who punched Nazis (metaphorically but also not)And that's just half of the women in this book. That's pretty metal.So, if you think that Nasty Women are a new thing, think again. They've always been around - you just haven't always heard of them. Take these stories and tell them to your friends. Write them on a wall. Sneakily tell them to your niece (who's old enough to hear the bad words, of course). Post them to your local MP (especially if it's a man). Make your friends dress up as Nasty Women for Halloween. These are the 100 Nasty Women of History who gave zero f*cks whatsoever. These are the 100 Nasty Women of History who made a difference. These are the 100 Nasty Women of History whom everyone needs to know about, right now.

    Women's Studies. INDICTUS re-imagines various creation myths to bear the invisible and unsaid assaults of women. In doing so, it subverts notions of patriarchal power into a genre that can be demolished and set again. INDICTUS is a Latin word, from which other words like "indict" and "indicate" are born. It translates literally as "to write the unsaid." There is an effort in this book to create the supernatural through the utterance of violence, because jurisdiction fails in real time. That sexual assault can so easily become a science fiction when power is rearranged to serve the victim speaks to the abject lack of control within victims to ever be redeemed. Crimes resolve to misdemeanors. In a world without my abusers, how can I soon become myself? Combining the mythological and autobiographical, this book attempts to indict us, so that the wounded might one day be free.

    The best stories are often about the lowest points in our lives - the soul-crushing jobs, the bad boyfriends, the terrible holidays, the betrayals and heartbreaks. These are the stories I tell people to make them like me, but, more importantly, they've helped me learn how to like myself.So this book is a collection of thankyous and acknowledgments:∗ Thank you to an ex-lover who marvelled at the fact he could get hard with me, even though I wasn't up to his usual standard.∗ Thank you to the coked-up real estate agent who, while lecturing me and my friend about the importance of travelling, fell down a flight of stairs.∗ Thank you to the woman who approached me after a gig and told me she hoped her daughter wouldn't end up like me.You've all taught me that you can't control who comes into your life or what happens to you, but you can decide just what it is you take from them.

    The "Handmaid's Tale" by Margaret Atwood (York Notes Advanced - NOT THE NOVEL)

    Irena Sendler, the female Oskar Schindler, proved herself a heroine of epic proportions, saving more than 2,000 Jewish children as well as many adults from the Treblinka Nazi death camp.

    In And Short the Season she muses on mortality: her own and that of the earth. Always deeply personal, always political, these poems blend myth and modernity, fecundity and death, and the violence and tenderness of humankind.

    Text Me When You Get Home is a personal and sociological perspective - and ultimately a celebration - of the evolution of the modern female friendship.Kayleen Schaefer has experienced (and occasionally, narrowly survived) most every iteration of the modern female friendship. First there was the mean girl cliques of the '90s; then the teenage friendships that revolved around constant discussion of romantic interests and which slowly morphed into Sex and the City spin-offs; the disheartening loneliness of "I'm not like other girls" friendships with only men; the discovery of a platonic soul mate; and finally, the overwhelming love of a supportive female squad (#squad).And over the course of these friendships, Schaefer made a startling discovery: girls make the best friends. And she isn't the only one to realize this. Through interviews with friends, mothers, authors, celebrities, businesswomen, doctors, screenwriters, and historians (a list that includes Judy Blume, Megan Abbott, The Fug Girls, and Kay Cannon), Schaefer shows a remarkable portrait of what female friendships can help modern women accomplish in their social, personal, and work lives.A validation of female friendship unlike any that's ever existed before, this book is a mix of historical research, the author's own personal experience, and conversations about friendships across the country. Everything Schaefer uncovers leads to - and makes the case for - the eventual conclusion that these ties among women are making us (both as individuals and as society as a whole) stronger than ever before.