What is misogyny, exactly? Who deserves to be called a misogynist? How does misogyny contrast with sexism, and why is it prone to persist--or increase--even when sexist gender roles are waning? This book is an exploration of misogyny in public life and politics, by the moral philosopher and writer Kate Manne. It argues that misogyny should not be understood primarily in terms of the hatred or hostility some men feel toward women generally. Rather, it's primarily about controlling, policing, punishing, and exiling the "bad" women who challenge male dominance. And it's compatible with rewarding "the good ones," and singling out other women to serve as warnings to those who are out of order. It's also common for women to serve as scapegoats, be burned as witches, and treated as pariahs.Manne examines recent and current events such as the Isla Vista killings by Elliot Rodger, the case of the convicted serial rapist Daniel Holtzclaw, who preyed on African-American women as a police officer in Oklahoma City, Rush Limbaugh's diatribe against Sandra Fluke, and the "misogyny speech" of Julia Gillard, then Prime Minister of Australia, which went viral on YouTube. The book shows how these events, among others, set the stage for the 2016 U.S. presidential election. Not only was the misogyny leveled against Hillary Clinton predictable in both quantity and quality, Manne argues it was predictable that many people would be prepared to forgive and forget Donald Trump's history of sexual assault and harassment. For this, Manne argues, is misogyny's oft-overlooked and equally pernicious underbelly: exonerating or showing "himpathy" for the comparatively privileged men who dominate, threaten, and silence women.

    She's spent much of her adult life committed to making sure these curiosities are broadly addressed or, better yet, prevented. In a culture where female sexual empowerment is used to sell everything from sex toys to soap, most early sex ed bypasses pleasure, and women continue to be "slut" or "prude"-shamed. Because of that, determining our own paths and defining what such empowerment really means in our lives is vital. In Girl Boner: The Good Girl's Guide to Sexual Empowerment, August guide readers through just that. A spicy blend of personal narrative, in-depth reporting, and inspiration, Girl Boner is the go-to companion for "good girls" seeking the richer, more authentic, and pleasure-filled lives they deserve through embracing their bodies and sexuality.

    He travels up the Amazon to meet the Piraha, a reclusive tribe whose singular language, more musical than any other, can help us hear how melodic principles underpin every word we utter. He heads up to Harvard to see how professional voices are helped and healed, and he ventures out on the campaign trail to see how demagogues wield their voices as weapons.

    Sociologist Orna Donath dispels the silence around this profoundly taboo subject in a powerful work that draws from her years of research interviewing women who wish they had never become mothers.Donath treats regret as a feminist issue: as regret marks the road not taken, we need to consider whether alternative paths for women may currently be blocked off. Donath asks that we pay attention to what is forbidden by our contemporary rules governing motherhood, time, and emotion, including the cultural assumption that motherhood is a “natural” role for women—for the sake of all women, not just those who regret becoming mothers. Donath finds that the women in her study became mothers for a wide variety of reasons: some did so to avoid divorce, exclusion from their family, or alienation from their friends; others did not think about it at all, but accepted it as the “next step” of what society considers to be a normal and natural life course. Others experienced regret despite initially having an strong desire to become mothers. Though they may love their children, these women each describe the agonizing guilt and suffering they have experienced as a result of becoming mothers, and consider the different ways they have each come to recognize and deal with these conflicts.

    In short, you'll see no body outlaws. The writers in this groundbreaking anthology reveal a world where bodies come in all their many-splendored shapes, sizes, colors, and textures. In doing so, they expand the national dialogue on body image to include race, ethnicity, sexuality, and power—issues that, while often overlooked, are intimately linked to how women feel about their bodies. Body Outlaws offers stories by those who have chosen to ignore, subvert, or redefine the dominant beauty standard in order to feel at home in their bodies.

    Analyzing data from the psychoanalyst’s couch to the hidden history of wet nursing, psychologist Shari L. Thurer wends her way from the Stone Age to the age of Hillary Rodham Clinton, painting a vivid, often frightening picture of life for mothers and children in a time when their roles were constructed by men. Along the way, she debunks myth after myth—exposing the not-so-golden ages of Classical Greece and the Italian Renaissance, and revealing the pervasive ideal of Dr. Spock’s selfless, stay-at-home mother as the historical aberration it actually was. A work of impassioned scholarship and astonishing range, The Myths of Motherhood does nothing less than recast our conception of good mothering.

    Women remain caught between feminism and femininity, between self-affirmation and an endless quest for self-improvement, between playing an injured party and claiming independence. Rather than blaming the usual suspects--men, the media--Kipnis takes a hard look at culprits closer to home, namely women themselves. Kipnis serves up the gory details of the mutual displeasure between men and women in painfully hilarious detail. Is anatomy destiny after all? An ambitious and original reassessment of feminism and women’s ambivalence about it, The Female Thing breathes provocative new life into that age-old question.

    However, in the last two decades the brutality of western beauty practices seems to have become much more severe, requiring the breaking of skin, spilling of blood and rearrangement or amputation of body parts. Beauty and Misogyny seeks to make sense of why beauty practices are not only just as persistent, but in many ways more extreme. It examines the pervasive use of makeup, the misogyny of fashion and high-heeled shoes, and looks at the role of pornography in the creation of increasingly popular beauty practices such as breast implants, genital waxing and surgical alteration of the labia. It looks at the cosmetic surgery and body piercing/cutting industries as being forms of self-mutilation by proxy, in which the surgeons and piercers serve as proxies to harm women s bodies, and concludes by considering how a culture of resistance to these practices can be created.This essential work will appeal to students and teachers of feminist psychology, gender studies, cultural studies, and feminist sociology at both undergraduate and postgraduate levels, and to anyone with an interest in feminism, women and beauty, and women s health.

    It makes a clear and humane feminist case for retaining the ability to discuss material reality about biological sex in a range of important contexts, including female-only spaces and resources, healthcare, epidemiology, political organization and data collection. It investigates the intellectual history of gender identity, showing how the concept is linked to a misguided philosophical picture which broadly rejects science and conflates facts about intersex people with facts about trans people. Material Girls concludes with a positive vision for the future, of collaboration between feminists and trans activists, detailing how they could work together to achieve some of their political aims.

    Debra Soh uses a research-based approach to address this hot-button topic, unmasking popular misconceptions about the nature vs. nurture debate and exploring what it means to be a woman or a man in today’s society. Both scientific and objective, and drawing on original research and carefully conducted interviews, Soh tackles a wide range of issues, such as gender-neutral parenting, gender dysphoric children, and the neuroscience of being transgender. She debates today’s accepted notion that gender is a social construct and a spectrum, and challenges the idea that there is no difference between how male and female brains operate. The End of Gender is a conversation-starting work that will challenge what you thought you knew about gender, identity, and everything in between. Timely, informative, and provocative, it will arm you with the facts you need to come to your own conclusions about gender identity and its place in the world today.

    Today's transgenders and other sex/gender radicals are writing a drastically new world into being. In Gender Outlaws, Bornstein, together with writer, raconteur, and theater artist S. Bear Bergman, collects and contextualizes the work of this generation's trans and genderqueer forward thinkers — new voices from the stage, on the streets, in the workplace, in the bedroom, and on the pages and websites of the world's most respected mainstream news sources. Gender Outlaws includes essays, commentary, comic art, and conversations from a diverse group of trans-spectrum people who live and believe in barrier-breaking lives.

    Paoletti's journey through the history of children's clothing began when she posed the question, "When did we start dressing girls in pink and boys in blue?" To uncover the answer, she looks at advertising, catalogs, dolls, baby books, mommy blogs and discussion forums, and other popular media to examine the surprising shifts in attitudes toward color as a mark of gender in American children's clothing. She chronicles the decline of the white dress for both boys and girls, the introduction of rompers in the early 20th century, the gendering of pink and blue, the resurgence of unisex fashions, and the origins of today's highly gender-specific baby and toddler clothing.

    In her ambitious, brilliant sixth book, Olivia Laing charts an electrifying course through the long struggle for bodily freedom, using the life of the renegade psychoanalyst Wilhelm Reich to explore gay rights and sexual liberation, feminism, and the civil rights movement.Drawing on her own experiences in protest and alternative medicine, and traveling from Weimar Berlin to the prisons of Joseph McCarthy’s America, Laing grapples with some of the most significant and complicated figures of the past century—among them Nina Simone, Christopher Isherwood, Andrea Dworkin, Sigmund Freud, Susan Sontag, and Malcolm X. Arriving at a moment in which basic bodily rights are once again imperiled, Everybody is an investigation into the forces arranged against freedom and a celebration of how ordinary human bodies can resist oppression and reshape the world.

    This troubling trend, often referred to as the glass cliff, raises important questions about the challenges that confront women and minorities in the workplace, and the prejudices that still surround those who make it to the top. In The Abramson Effect, Barnard College president Debora Spar explores how far women have come from the days when career options were limited to secretary, teacher, and nurse, but also, as illustrated by Jill Abramson’s case, how far we have left to go. Debora L. Spar is the president of Barnard College, the women's undergraduate college affiliated with Columbia University. She received her doctorate in government from Harvard University and was the Spangler Family Professor of Business Administration at Harvard Business School. Spar is the author of numerous books, including Ruling the Waves: Cycles of Discovery, Chaos, and Wealth from the Compass to the Internet and The Baby Business: How Money, Science, and Politics Drive the Commerce of Conception. Her most recent book, the New York Times-bestselling Wonder Women: Sex, Power, and the Quest for Perfection, will be out in paperback in October 2014. Cover design by Hannah Perrine Mode.

    Women on Top looks at a new generation of women and asks: what are women's sexual fantasies today? How have they responded to the changes brought about by feminism? In a world wallpapered with erotic images, but which still denies them full sexual freedom, women are more determined than ever that they'll be 'nice girls' no longer. Explicit, iconoclastic, often shocking, these erotic daydreams - angry, lustful, tender and dark - blow apart the old taboos. Nothing is forbidden.