A bacha posh (literally translated from Dari as "dressed up like a boy") is a third kind of child – a girl temporarily raised as a boy and presented as such to the outside world. Jenny Nordberg, the reporter who broke the story of this phenomenon for the New York Times, constructs a powerful and moving account of those secretly living on the other side of a deeply segregated society where women have almost no rights and little freedom. The Underground Girls of Kabul is anchored by vivid characters who bring this remarkable story to life: Azita, a female parliamentarian who sees no other choice but to turn her fourth daughter Mehran into a boy; Zahra, the tomboy teenager who struggles with puberty and refuses her parents' attempts to turn her back into a girl; Shukria, now a married mother of three after living for twenty years as a man; and Nader, who prays with Shahed, the undercover female police officer, as they both remain in male disguise as adults. At the heart of this emotional narrative is a new perspective on the extreme sacrifices of Afghan women and girls against the violent backdrop of America's longest war. Divided into four parts, the book follows those born as the unwanted sex in Afghanistan, but who live as the socially favored gender through childhood and puberty, only to later be forced into marriage and childbirth. The Underground Girls of Kabul charts their dramatic life cycles, while examining our own history and the parallels to subversive actions of people who live under oppression everywhere.

    It is a strident critique of logocentrism and phallogocentrism, having much in common with Jacques Derrida's earlier thought. The essay also calls for an acknowledgment of universal bisexuality or polymorphous perversity, a precursor of queer theory's later emphases, and swiftly rejects many kinds of essentialism which were still common in Anglo-American feminism at the time. The essay also exemplifies Cixous's style of writing in that it is richly intertextual, making a wide range of literary allusions.(From Wikipedia)

    Exploring and revealing the lives of today's young feminists--the Third Wave--a collection of essays by thirty diverse members of the twenty-something generation covers a wide range of topics including racism, sex, identity, AIDS, revolution, and abortion.

    Despite being repeatedly written off as a political movement that has achieved its aim of female liberation, it has been continually redefined as new generations of women campaign against the gender inequity of their age.In this absorbing book, historian Lucy Delap challenges the simplistic narrative of 'feminist waves' - a sequence of ever more progressive updates ­- showing instead that feminists have been motivated by the specific concerns of their historical moment. Drawing on an extraordinary range of examples from Japan to Russia, Egypt to Germany, Delap explores different feminist projects to show that those who are part of this movement have not always agreed on a single programme. This diverse history of feminism, she argues, can help us better navigate current debates and controversies.A tour de force from an award-winning expert, Feminisms shows that a rich relationship to the past can infuse today's activism with a sense possibility and inspiration.

    Besides providing up-to-date coverage of liberal, radical (libertarian and cultural), and Marxist-socialist schools of feminism, she covers psychoanalytic, existentialist, and postmodern feminism. All the chapters have been rethought and new chapters on ecofeminism and multicultural and global feminism have been added.In the clear-sighted and accessible style for which has become known, Tong guides the reader through the complexities of even the most notoriously difficult thinkers. Students will become familiar with many of the essential figures in the feminist tradition as well as some of the issues that have been of special concern to women (e.g., pornography, reproductive technology, housework, the environment, and militarism). Moreover, students are repeatedly urged to consider the many differences that separate women (class, race, ethnicity, age, nationality, religion) as well as the sameness that continue to unite women.Tong treats all views with respect and encourages the reader to think both sympathetically and critically about what feminism is and what relevance it has to their own lives. As valuable as the first edition of Feminist Thought, this second edition surpasses its predecessor in depth and breadth. Clearly, Tong believes that feminist thought is still developing even as it approaches the millennium.

    Wade In this deeply moving work, Ann Fessler brings to light the lives of hundreds of thousands of young single American women forced to give up their newborn children in the years following World War II and before Roe v. Wade. The Girls Who Went Away tells a story not of wild and carefree sexual liberation, but rather of a devastating double standard that has had punishing long-term effects on these women and on the children they gave up for adoption. Based on Fessler's groundbreaking interviews, it brings to brilliant life these women's voices and the spirit of the time, allowing each to share her own experience in gripping and intimate detail. Today, when the future of the Roe decision and women's reproductive rights stand squarely at the front of a divisive national debate, Fessler brings to the fore a long-overlooked history of single women in the fifties, sixties, and early seventies. In 2002, Fessler, an adoptee herself, traveled the country interviewing women willing to speak publicly about why they relinquished their children. Researching archival records and the political and social climate of the time, she uncovered a story of three decades of women who, under enormous social and family pressure, were coerced or outright forced to give their babies up for adoption. Fessler deftly describes the impossible position in which these women found themselves: as a sexual revolution heated up in the postwar years, birth control was tightly restricted, and abortion proved prohibitively expensive or life endangering. At the same time, a postwar economic boom brought millions of American families into the middle class, exerting its own pressures to conform to a model of family perfection. Caught in the middle, single pregnant women were shunned by family and friends, evicted from schools, sent away to maternity homes to have their children alone, and often treated with cold contempt by doctors, nurses, and clergy. The majority of the women Fessler interviewed have never spoken of their experiences, and most have been haunted by grief and shame their entire adult lives. A searing and important look into a long-overlooked social history, The Girls Who Went Away is their story.

    Indeed the Bloomsbury set has often been identified with liberal, open-minded views; Woolf's circle of artists and writers were considered Bohemians ahead of their time. But they were also of their time. Like thousands of other British households, Virginia Woolf's relied on live-in domestics for the most intimate of daily tasks. That room of her own she so valued was cleaned, heated, and supplied with meals by a series of cooks and maids throughout her childhood and adult life. In Mrs. Woolf and the Servants, Alison Light gives depth and dignity to the long-overlooked servants who worked for the Bloomsbury intellectuals.The result is twofold. For one, Light adds revealing nuances to our picture of Virginia Woolf, both as a woman and as writer. She also captures a fascinating period of British history, primarily between the wars, when modern oil stoves were creeping into kitchens to replace coal, and young women were starting to dream of working in hat shops rather than mansions.Despite the liberal outlook of the Bloomsbury set, and their conscious efforts to leave their Victorian past behind, their homes were nevertheless divided into the worlds of "us" and "them." Alison Light writes with insight and charm about this fraught side of Bloomsbury, and hers is a refreshingly balanced portrait of Virginia Woolf, flaws and all.

    In Female Masculinity Jack Halberstam takes aim at the protected status of male masculinity and shows that female masculinity has offered a distinct alternative to it for well over two hundred years. Providing the first full-length study on this subject, Halberstam catalogs the diversity of gender expressions among masculine women from nineteenth-century pre-lesbian practices to contemporary drag king performances.Through detailed textual readings as well as empirical research, Halberstam uncovers a hidden history of female masculinities while arguing for a more nuanced understanding of gender categories that would incorporate rather than pathologize them. He rereads Anne Lister's diaries and Radclyffe Hall's The Well of Loneliness as foundational assertions of female masculine identity. He considers the enigma of the stone butch and the politics surrounding butch/femme roles within lesbian communities. He also explores issues of transsexuality among "transgender dykes"---lesbians who pass as men---and female-to-male transsexuals who may find the label of "lesbian" a temporary refuge. Halberstam also tackles such topics as women and boxing, butches in Hollywood and independent cinema, and the phenomenon of male impersonators.Female Masculinity signals a new understanding of masculine behaviors and identities, and a new direction in interdisciplinary queer scholarship. Illustrated with nearly forty photographs, including portraits, film stills, and drag king performance shots, this book provides an extensive record of the wide range of female masculinities. And as Halberstam clearly demonstrates, female masculinity is not some bad imitation of virility, but a lively and dramatic staging of hybrid and minority genders.

    Focusing on a popular art medium that has been around for over 50 years, The New Acrylics illustrates how artists can create lush textures, color, and luster with the modern acrylics readily available in any art supply store. These are nontoxic, environmentally sound, and exist in the most dazzling array of chemical formats—from the most fluid to the highly viscous. Not only do artists paint with acrylics these days, they can create rich metallic effects, or even 3-dimensional sculptures. Traditional technique based books on acrylics cover traditional methods of painting. However, The New Acrylics is geared toward more nonconventional ways in which to manipulate modern-day acrylics, and demonstrates new applications such as glazing, textured effects, soft sculpture effects, or staining, thus reinventing the old way of handling acrylics, and revealing a fabulous new artistic medium. The underlying theme of this dazzling and sophisticated book is to encourage artists to interpret and handle acrylic paints in a vibrant, fresh, and above all, individualistic style.

    There is no question that Robert Frank's The Americans is the most famous and influential photography book ever published. It was 1959 when the book first came out: a series of deceptively simple photographs that Frank took on a trip through America in '55 and '56, pictures of normal people, everyday scenes: lunch counters, bus depots, cars, and the stangely familiar faces of people we don't quite know but have seen somewhere. They are pictures that saw the "American way of life" as we hadn't yet quite been able to see it ourselves, photographs that condensed the entire life of a nation in classic images that still speak to us today, forty years and several generations later.

    An epidemic is biological and blameless. Violence against Native women is historical and political, bounded by oppression and colonial violence. This book, like all of Sarah Deer’s work, is aimed at engaging the problem head-on—and ending it.The Beginning and End of Rape collects and expands the powerful writings in which Deer, who played a crucial role in the reauthorization of the Violence Against Women Act in 2013, has advocated for cultural and legal reforms to protect Native women from endemic sexual violence and abuse. Deer provides a clear historical overview of rape and sex trafficking in North America, paying particular attention to the gendered legacy of colonialism in tribal nations—a truth largely overlooked or minimized by Native and non-Native observers. She faces this legacy directly, articulating strategies for Native communities and tribal nations seeking redress. In a damning critique of federal law that has accommodated rape by destroying tribal legal systems, she describes how tribal self-determination efforts of the twenty-first century can be leveraged to eradicate violence against women. Her work bridges the gap between Indian law and feminist thinking by explaining how intersectional approaches are vital to addressing the rape of Native women.Grounded in historical, cultural, and legal realities, both Native and non-Native, these essays point to the possibility of actual and positive change in a world where Native women are systematically undervalued, left unprotected, and hurt. Deer draws on her extensive experiences in advocacy and activism to present specific, practical recommendations and plans of action for making the world safer for all.

    Among the contents are essays about other writers, accounts of the civil rights movement of the 1960s and the antinuclear movement of the 1980s, and a vivid memoir of a scarring childhood injury and her daughter's healing words.

    During the following ten years they were lovers, worked closely together and she became mother to two of his children, Claude and Paloma. Life with Picasso, her account of those extraordinary years, is filled with intimate and astonishing revelations about the man, his work, his thoughts and his friends - Matisse, Braque, Gertrude Stein and Giacometti, among others. Francois Gilot paints a compelling portrait of her turbulent life with the temperamental (and even abusive) genius that was Picasso. As one of the few intimate witnesses to Picasso as a human being and as an artist, her account of him is invaluable for assessing him on both counts.

    Hailed by readers and critics across the country, this engrossing biography of Mexican painter Frida Kahlo reveals a woman of extreme magnetism and originality, an artist whose sensual vibrancy came straight from her own experiences: her childhood near Mexico City during the Mexican Revolution; a devastating accident at age eighteen that left her crippled and unable to bear children; her tempestuous marriage to muralist Diego Rivera and intermittent love affairs with men as diverse as Isamu Noguchi and Leon Trotsky; her association with the Communist Party; her absorption in Mexican folklore and culture; and her dramatic love of spectacle.Here is the tumultuous life of an extraordinary twentieth-century woman -- with illustrations as rich and haunting as her legend.

    Now a new generation of brilliant, outspoken women of color is speaking to the concerns of a new feminism, and their place in it. Daisy Hernandez of Ms. magazine and poet Bushra Rehman have collected a diverse, lively group of emerging writers who speak to their experience—to the strength and rigidity of community and religion, to borders and divisions, both internal and external—and address issues that take feminism into the twenty-first century. One writer describes herself as a “mixed brown girl, Sri-Lankan and New England mill-town white trash,” and clearly delineates the organizing differences between whites and women of color: “We do not kick ass the way the white girls do, in meetings of NOW or riot grrl. For us, it’s all about family.” A Korean-American woman struggles to create her own identity in a traditional community: “Yam-ja-neh means nice, sweet, compliant. I’ve heard it used many times by my parents’ friends who don’t know shit about me.” An Arab-American feminist deconstructs the “quaint vision” of Middle-Eastern women with which most Americans feel comfortable. This impressive array of first-person accounts adds a much-needed fresh dimension to the ongoing dialogue between race and gender, and gives voice to the women who are creating and shaping the feminism of the future.