She is a mistress, and she has been – and is – very much apart of our human cultural history. But who is she, really?...

    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.

    However, the iconic women of the 1990s—such as Hillary Clinton, Courtney Love, Roseanne Barr, Marcia Clark, and Anita Hill—earned their places in history not as trailblazers, but as whipping girls of the media. During this decade, American society grew increasingly hostile to women who dared to speak up, challenge power, or defy rigid expectations for female behavior.Deeply researched yet thoroughly engaging, 90s Bitch untangles the complex history of women in the 1990s, exploring how they were maligned by the media, vilified by popular culture, and objectified in the marketplace. In an age where even a presidential nominee can be derided as a “nasty woman,” it’s clear that the epidemic of casting women as bitches persists. To understand why we must take a long, hard look back at the 1990s—a decade in which female empowerment was twisted into bitchification and exploitation.Yarrow’s thoughtful, clear-eyed, and timely examination is a must-read for anyone seeking to understand gender politics and how we might end the “bitch epidemic” for the next generation.

    By 1974, the British computer industry was all but extinct. What happened in the intervening thirty years holds lessons for all postindustrial superpowers. As Britain struggled to use technology to retain its global power, the nation's inability to manage its technical labor force hobbled its transition into the information age.In Programmed Inequality, Marie Hicks explores the story of labor feminization and gendered technocracy that undercut British efforts to computerize. That failure sprang from the government's systematic neglect of its largest trained technical workforce simply because they were women. Women were a hidden engine of growth in high technology from World War II to the 1960s. As computing experienced a gender flip, becoming male-identified in the 1960s and 1970s, labor problems grew into structural ones and gender discrimination caused the nation's largest computer user -- the civil service and sprawling public sector -- to make decisions that were disastrous for the British computer industry and the nation as a whole.Drawing on recently opened government files, personal interviews, and the archives of major British computer companies, Programmed Inequality takes aim at the fiction of technological meritocracy. Hicks explains why, even today, possessing technical skill is not enough to ensure that women will rise to the top in science and technology fields. Programmed Inequality shows how the disappearance of women from the field had grave macroeconomic consequences for Britain, and why the United States risks repeating those errors in the twenty-first century."

    A guide to women's health, including information on breast cancer, AIDS, pregnancy and childbirth, and medical practices and procedures.

    

    While acknowledging the many women whose contributions to visual culture since the Middle Ages have often been neglected, Whitney Chadwick's survey reexamines the works themselves and the ways in which they have been perceived as marginal, often in direct reference to gender. In her discussion of feminism and its influence on such a reappraisal, the author also addresses the closely related issues of ethnicity, class, and sexuality.This expanded edition incorporates recent developments in contemporary art. Chadwick addresses the turn toward autobiography in much recent women's art. She considers issues such as the personal versus the political and the private versus the public, and analyzes the differences between women's art today and the seminal feminist work of the 1970s and 1980s.

    In these twelve essays, bell hooks digs ever deeper into the personal and political consequences of contemporary representations of race and ethnicity within a white supremacist culture.

    Trump, journalist Seyward Darby went looking for the women of the so-called alt-right--really just white nationalism with a new label. The mainstream media depicted the alt-right as a bastion of angry white men, but was it? As women headlined resistance to the Trump administration's bigotry and sexism, most notably at the women's marches, Darby wanted to know why others were joining a movement espousing racism and anti-feminism. Who were these women, and what did their activism reveal about America's past, present, and future? Darby researched dozens of women across the country before settling on three: Corinna Olsen, Ayla Stewart, and Lana Lokteff. Each was born in 1979 and became a white nationalist in the post-9/11 era. Their respective stories of radicalization upend much of what we assume about women, politics, and political extremism.

    Thousands have seen me at my--ah--best; and thousands have made no objections.Noralee Frankel's lively biography, Stripping Gypsy, the first ever published about the highly mythologized Gypsy, examines the struggles Lee faced in making a lucrative and unconventional career for herself while maintaining a sense of dignity and social value. Frankel shows that the famous Miss Lee was an enigma, clearly struggling with her choices and her desire to be respected and legitimized. Those who know Gypsy Rose Lee only from the musical and film based on her rise to stardom will be surprised by what they uncover in Stripping Gypsy. In all ways, Lee trafficked in the incongruous: she was at once sex object, intellectual, and activist. In addition to her highly successful strip-tease act and film career, she published two mystery novels and a memoir, wrote two plays, and showed her original artwork in famed Modern Art-impresario Peggy Guggenheim's gallery. Lee also gained notoriety for her participation in liberal politics. As photographer Arnold Newman said, She was a lady, a brilliant, bright woman who was the friend of many writers and intellectuals. Though she wasn't above using her femininity to full advantage, Lee aspired to much more than admiration for her physical beauty.Frankel places Lee's life in social and political context while detailing a fascinating entertainment career, in which Lee created and recreated her own identity to fit changing times. Frankel's biography transcends the sensationalism of stripping and asks the public to see the woman beneath the costume, a woman who always kept a little of herself shrouded in mystery.

    It was the year the proportion of American women who were married dropped below fifty percent; and the median age of first marriages, which had remained between twenty and twenty-two years old for nearly a century (1890–1980), had risen dramatically to twenty-seven. But over the course of her vast research and more than a hundred interviews with academics and social scientists and prominent single women, Traister discovered a startling truth: The phenomenon of the single woman in America is not a new one. And historically, when women were given options beyond early heterosexual marriage, the results were massive social change—temperance, abolition, secondary education, and more. Today, only twenty percent of Americans are married by age twenty-nine, compared to nearly sixty percent in 1960.

    Transgender Warriors is an eye-opening jaunt through the history of gender expression and a powerful testament to the rebellious spirit.

    That's the philosophy behind What to Wear, Where, the second book from the authors of the popular style guide Who What Wear. This time Hillary Kerr and Katherine Power give readers exactly what they've asked for: specific advice on how to put together the perfect look for any social occasion. What to Wear, Where addresses more than 50 major social situations, explains what you should wear and what you shouldn't wear, and shows you exactly what the authors would wear. What to Wear, Where is loaded with practical tips and style suggestions, making it the perfect resource for anyone who wants to feel more confident about her outfit choices. It's your go-to guide for wardrobe advice and inspiration!Praise for What to Wear, Where:"[A] definitive guide to looking trendy and timeless. With style advice for more than fifty special occasions, What to Wear, Where is the ultimate investment piece." -Harper's Bazaar

    From the pink satin "Diamonds Are a Girl’s Best Friend” gown, to the pleated white dress from The Seven Year Itch to the revealing nude sheath worn to sing "Happy Birthday” to JFK, Marilyn created endless unforgettable looks. Before they were household names, she wore Ferragamo pumps, carried Gucci bags and wore the designs of Oleg Cassini, Norman Norell, Emilio Pucci, and Jean Louis. In an era of Peter Pan collars, poodle skirts, and repressed sexuality, Marilyn’s sexy style and ability to spot up-and-coming designers made her a fashion visionary. Marilyn in Fashion traces the evolution of her style, from wholesome sweetness early in her career, to sex kitten looks in the 1950s, to elegant sophistication in the last years of her life. The text details the designers of her ensembles, where she wore them, and their influence on fashion. Behind-the-scenes stories reveal how the star often worked closely with designers to create looks befitting the Marilyn Monroe image. Illustrated with hundreds of rare and never-before-published photos, Marilyn in Fashion fabulously traces the style evolution of the ultimate Hollywood icon.

    Using interview material, they bring together women's perspectives from North and South on environmental deterioration and develop and new way of approaching this body of knowledge which is at once practical and philosophical. Do women involved in environmental movements see a link between patriarchy and ecological degradation? What are the links between global militarism and the destruction of nature? In exploring such questions, the authors criticize prevailing theories and develop an intellectually rigorous ecofeminist perspective rooted in the needs of everyday life. They argue for the acceptance of limits, the rejection of the commoditization of needs, and a commitment to a new ethics.