Racism and White Feminism are paramount to why women of color do NOT attend, participate, thrive or stay in white spaces. White spaces are toxic breeding grounds for racial interpersonal violence under the guise of “feminism” and women’s empowerment. White Spaces Missing Faces boldly objects the illusion of inclusion and exposes the unrepentant truth about the Weapons of Whiteness used by white women to silence, marginalize, violate and oppress women of color. White Spaces Missing Faces unearths the covert roots of racial antipathy between white women and women of color and provides radical solutions for relationship reconciliation, reparation and restoration. White Spaces Missing Faces teaches you how to lay down your Weapons of Whiteness to stop assaulting women of color while creating, cultivating and sustaining an environment where they stay, thrive and flourish by denouncing your own racism and becoming an anti-racist Accomplice.

    This new edition of Ar'n't I a Woman? reviews and updates the scholarship on slave women and the slave family, exploring new ways of understanding the intersection of race and gender and comparing the myths that stereotyped female slaves with the realities of their lives. Above all, this groundbreaking study shows us how black women experienced freedom in the Reconstruction South — their heroic struggle to gain their rights, hold their families together, resist economic and sexual oppression, and maintain their sense of womanhood against all odds.

    She demonstrates how reconciliation’s roots in the evangelical, male-centered Promise Keepers’ movement has resulted in a patriarchal and largely symbolic effort, focused upon improving relationships between men from various racial-ethnic groups.Walker-Barnes argues that highlighting the voices of women of color is critical to developing any genuine efforts toward reconciliation. Drawing upon intersectionality theory and critical race studies, she demonstrates how living at the intersection of racism and sexism exposes women of color to unique experiences of gendered racism that are not about relationships, but rather are about systems of power and inequity.Refuting the idea that race and racism are “one-size-fits-all,” I Bring the Voices of My People highlights the particular work that White Americans must do to repent of racism and to work toward racial justice and offers a constructive view of reconciliation that prioritizes eliminating racial injustice and healing the damage that it has done to African Americans and other people of color.

    In this must-read for every woman, Susan J. Douglas and Meredith W. Michaels shatter the myth of the perfect mom and all but shout, "We're not gonna take it anymore!"

    We must hold the truth to account in the midst of sensationalism and international political turmoil. Nasty Women is a collection of essays, interviews and accounts on what it is to be a woman in the 21st century.People, politics, pressure, punk - From working class experience to racial divides in Trump’s America, being a child of immigrants, to sexual assault, Brexit, pregnancy, contraception, identity, family, finding a voice online, role models and more, Laura Jane Grace of Against Me!, Zeba Talkhani, Chitra Ramaswamy are just a few of the incredible women who share their experience here.Keep telling your stories, and tell them loud.

    It is concrete, visceral, and embodied in the everyday experience and relationships that determine who we are. In that case, argues distinguished theologian Shawn Copeland, we have much to learn from the embodied experience of black women who, for centuries, have borne in their bodies the identities and pathologies of those in power.With rare insight and conviction, Copeland demonstrates how black women's experience and oppression cast a completely different light on our theological theorems and pious platitudes and reveal them as a kind of mental colonization that still operates powerfully in our economic and political configurations today. Further, Copeland argues, race and embodiment and relations of power not only reframe theological anthropology but also our notions of discipleship, church, and Christ as well. In fact, she argues, our postmodern situation -- marked decidedly by the realities of race, conflict, the remains of colonizing myths, and the health of bodies - affords an opportunity to be human (and to be the body of Christ) with new clarity and effect.

    Documenting the categories of subculture and style that high school students use to explain class and racial/ethnic differences among themselves, Bettie depicts the complex identity performances of contemporary girls. The title, Women Without Class, refers at once to young working-class women who have little cultural capital to enable class mobility, to the fact that class analysis and social theory has remained insufficiently transformed by feminist and ethnic studies, and to the fact that some feminist analysis has itself been complicit in the failure to theorize women as class subjects. Bettie's research and analysis make a case for analytical and political attention to class, but not at the expense of attention to other axes of identity and social formations.

    Although most evangelical traditions bar women from ordained ministry, many women have carved out unofficial positions of power in their husbands' spiritual empires or their own ministries. The biggest stars--such as Beth Moore, Joyce Meyer, and Victoria Osteen--write bestselling books, grab high ratings on Christian television, and even preach. In this engaging book, Kate Bowler, an acclaimed historian of religion and the author of the bestselling memoir Everything Happens for a Reason: And Other Lies I've Loved, offers a sympathetic and revealing portrait of megachurch women celebrities, showing how they must balance the demands of celebrity culture and conservative, male-dominated faiths.Whether standing alone or next to their husbands, the leading women of megaministry play many parts: the preacher, the homemaker, the talent, the counselor, and the beauty. Boxed in by the high expectations of modern Christian womanhood, they follow and occasionally subvert the visible and invisible rules that govern the lives of evangelical women, earning handsome rewards or incurring harsh penalties. They must be pretty, but not immodest; exemplary, but not fake; vulnerable to sin, but not deviant. And black celebrity preachers' wives carry a special burden of respectability. But despite their influence and wealth, these women are denied the most important symbol of spiritual power--the pulpit.The story of women who most often started off as somebody's wife and ended up as everyone's almost-pastor, The Preacher's Wife is a compelling account of women's search for spiritual authority in the age of celebrity.

    In lively and impassioned prose, she breaks down three key dualisms - sex/gender, nature/nurture, and real/constructed - and asserts that individuals born as mixtures of male and female exist as one of five natural human variants and, as such, should not be forced to compromise their differences to fit a flawed societal definition of normality.

    They pored over magazines that described the dangerous pleasures of corporal punishment. A few had sexual relationships with each other, exchanged rings and vows, willed each other property, and lived together in long-term partnerships described as marriages. But, as Sharon Marcus shows, these women were not seen as gender outlaws. Their desires were fanned by consumer culture, and their friendships and unions were accepted and even encouraged by family, society, and church. Far from being sexless angels defined only by male desires, Victorian women openly enjoyed looking at and even dominating other women. Their friendships helped realize the ideal of companionate love between men and women celebrated by novels, and their unions influenced politicians and social thinkers to reform marriage law.Through a close examination of literature, memoirs, letters, domestic magazines, and political debates, Marcus reveals how relationships between women were a crucial component of femininity. Deeply researched, powerfully argued, and filled with original readings of familiar and surprising sources, Between Women overturns everything we thought we knew about Victorian women and the history of marriage and family life. It offers a new paradigm for theorizing gender and sexuality--not just in the Victorian period, but in our own.

    Told in her own inimitable style, this book transcends genres and categories: guidebook, memoir, poetry, and pure delight.Here in short spellbinding essays are glimpses of the tumultuous life that led Angelou to an exalted place in American letters and taught her lessons in compassion and fortitude: how she was brought up by her indomitable grandmother in segregated Arkansas, taken in at thirteen by her more worldly and less religious mother, and grew to be an awkward, six-foot-tall teenager whose first experience of loveless sex paradoxically left her with her greatest gift, a son.Whether she is recalling such lost friends as Coretta Scott King and Ossie Davis, extolling honesty, decrying vulgarity, explaining why becoming a Christian is a “lifelong endeavor,” or simply singing the praises of a meal of red rice–Maya Angelou writes from the heart to millions of women she considers her extended family. Like the rest of her remarkable work, Letter to My Daughter entertains and teaches; it is a book to cherish, savor, re-read, and share.“I gave birth to one child, a son, but I have thousands of daughters. You are Black and White, Jewish and Muslim, Asian, Spanish speaking, Native Americans and Aleut. You are fat and thin and pretty and plain, gay and straight, educated and unlettered, and I am speaking to you all. Here is my offering to you.”–from Letter to My Daughter

    This unique anthology, with fourteen superb examples of her fiction, journalism, folklore, and autobiography, rightfully establishes her as the intellectual and spiritual leader of the next generation of black writers. The original commentary by Alice Walker and Mary Helen Washington, two African-American writers in the forefront of the Hurston revival, provide illuminating insights into Hurston—the writer, and the person—as well as into American social and cultural history.

    Jones is buried in London’s Highgate Cemetery, to the left of Karl Marx—a location that Boyce Davies finds fitting given how Jones expanded Marxism-Leninism to incorporate gender and race in her political critique and activism.Claudia Cumberbatch Jones was born in Trinidad. In 1924, she moved to New York, where she lived for the next thirty years. She was active in the Communist Party from her early twenties onward. A talented writer and speaker, she traveled throughout the United States lecturing and organizing. In the early 1950s, she wrote a well-known column, “Half the World,” for the Daily Worker. As the U.S. government intensified its efforts to prosecute communists, Jones was arrested several times. She served nearly a year in a U.S. prison before being deported and given asylum by Great Britain in 1955. There she founded The West Indian Gazette and Afro-Asian Caribbean News and the Caribbean Carnival, an annual London festival that continues today as the Notting Hill Carnival. Boyce Davies examines Jones’s thought and journalism, her political and community organizing, and poetry that the activist wrote while she was imprisoned. Looking at the contents of the FBI file on Jones, Boyce Davies contrasts Jones’s own narration of her life with the federal government’s. Left of Karl Marx establishes Jones as a significant figure within Caribbean intellectual traditions, black U.S. feminism, and the history of communism.

    A vital counter-interpretation of madness in women, showing how it is often a consequence of, rather than a deviation from, the traditional female role.

    From the values she learned from her parents (including, but not limited to, advice on not bringing outside germs onto your clean bed) to her and her boyfriend, lovingly known as British Baekoff, deciding to have a child-free union, to the way the Black Lives Matter movement took center stage in America, and, finally, the continual struggle to love her 4C hair, each essay is packed with humor and humanity.By turns insightful, laugh-out-loud funny, and heartfelt, Please Don't Sit On My Bed In Your Outside Clothes is not only a brilliant look at our current cultural moment, but a collection that will stay with you for years to come.