All the necessary "sins" that women and girls require to erupt.Eltahawy knows that the patriarchy is alive and well, and she is fed up: Sexually assaulted during hajj at the age of fifteen. Groped on the dance floor of a night club in Montreal at fifty. Countless other injustices in the years between. Illuminating her call to action are stories of activists and ordinary women around the world—from South Africa to China, Nigeria to India, Bosnia to Egypt—who are tapping into their inner fury and crossing the lines of race, class, faith, and gender that make it so hard for marginalized women to be heard. Rather than teaching women and girls to survive the poisonous system they have found themselves in, Eltahawy arms them to dismantle it.Brilliant, bold, and energetic, The Seven Necessary Sins for Women and Girls is a manifesto for all feminists in the fight against patriarchy.

    But over time they started to feel uneasy – not just about magazines, but about music videos, page 3, and women being labelled frigid, princesses or tramps.So, following the amazing success of their Vagenda blog, they wrote this book. Welcome to your indispensable guide to the madness of women’s media.

    In A Room of One's Own (1929), she examines the work of past women writers, and looks ahead to a time when women's creativity will not be hampered by poverty, or by oppression. In Three Guineas (1938), however, Woolf argues that women's historical exclusion offers them the chance to form a political and cultural identity which could challenge the drive towards fascism and war.

    But all rage isn't created equal. Who gets to be angry? (If there's now space for cis white women's anger, what about black women? Trans women?) How do women express their anger? And what will they do with it-individually and collectively? In Burn It Down, a diverse group of women authors explore their rage-from the personal to the systemic, the unacknowledged to the public. One woman describes her rage at her own body when she becomes ill with no explanation. Another writes of the anger she inherits from her father. One Pakistani American writes, "To openly express my anger would be too American," and explains why. Broad-ranging and cathartic, Burn It Down is essential reading for any woman who has burned with rage but questioned if she is entitled to express it.

    These numbers don't seem terribly grim, but in ten years, the skewed sex ratio will pose a colossal challenge. By the time those children reach adulthood, their generation will have twenty-four million more men than women.The prognosis for China's neighbors is no less bleak: Asia now has 163 million females "missing" from its population. Gender imbalance reaches far beyond Asia, affecting Georgia, Eastern Europe, and cities in the U.S. where there are significant immigrant populations. The world, therefore, is becoming increasingly male, and this mismatch is likely to create profound social upheaval.Historically, eras in which there have been an excess of men have produced periods of violent conflict and instability. Mara Hvistendahl has written a stunning, impeccably-researched book that does not flinch from examining not only the consequences of the misbegotten policies of sex selection but Western complicity with them.

    The Geek Feminist Revolution also features several entirely new essays written specifically for this volume.Unapologetically outspoken, Hurley has contributed essays to The Atlantic, Locus, Tor.com, and elsewhere on the rise of women in genre, her passion for science fiction and fantasy, and the diversification of publishing.

    The first comprehensive collection to trace the development of African-American feminist thought.

    Answers came through the point and click of a digital camera. On behalf of the IRC, Ann Jones spent two years traveling through Africa, East Asia, and the Middle East, giving cameras to women who had no other means of telling the world what war had done to their lives. The photography project—which moved from Liberia to Syria and points in between—quickly broadened to encompass the full consequences of modern warfare for the most vulnerable. Even after the definitive moments of military victory, women and children remain blighted by injury and displacement and are the most affected by the destruction of communities and social institutions. And along with peace often comes worsening violence against women, both domestic and sexual.Dramatic and compelling, animated by the voices of brave and resourceful women, War Is Not Over When It's Over shines a powerful light on a phenomenon that has long been cast in shadow.

    Undeniably celebratory and deeply troubling, this sharp-edged collection (of fiction, prose poetry, personal essay, photographs, and illustration) figures the un-hyphenated femme experience emerging in performance, betrayal, violence, humor and survival.Brazen Femme recognizes femme as an identity in flux and in motion, as constantly being reinvented. This mutability sets the stage for creative and thoughtful representation featuring critically acclaimed writers including Michelle Tea, Camilla Gibb, Sky Gilbert, Amber Hollibaugh and Anurima Banerji. The collection includes the entertaining and challenging work of writers and artists whose stories are missing from existing explorations of femme that exclude experiences of men, transsexual women, and sex workers.Whether by choice or necessity, these frenzied femmes each explore their desires to make (and remake) femininity fit their own queer frames. Darlings, drag queens, whores and action heroes . . . a femme by any other name is spectacular.With writings by Debra Anderson, Anurima Banerji, T.J. Bryan, Anna Camilleri, Daniel Collins, Lisa Duggan and Kathleen McHugh, Camilla Gibb, Sky Gilbert, Tara Hardy, Amber Hollibaugh, Suzann Kole, Heather Mc-Callister, Elaine Miller, Kathryn Payne, Leah Piepzna-Samarasinha, Elizabeth Ruth, Trish Salah, Abi Slone and Allyson Mitchell, Michelle Tea, Zoe Whittal and Karin Wolf.With photographs by Chloë Brushwood Rose, and Daniel Collins, and illustrations by comic artists Sandi Rapini, Suzy Malik and Allyson Mitchell.Chloë Brushwood Rose and Anna Camilleri have been collaborating in Toronto as curators, editors and art-makers for the past four years. Anna co-founded the interdisciplinary performance troupe Taste This, who collaborated on the acclaimed Boys Like Her.

    You often hear, "There should be a law against it!" Or, perhaps just against the buyers. What do sex workers want? That's not something you hear asked very often. In this accessible manifesto, the strong argument for full decriminalization of sex work is explored through personal experience and looking at laws around the world.In some places, like New York, selling sex is illegal. In others, like Sweden, only buying it is. In some, like the UK and France, it's legal to sell sex and to buy it, but not to run a brothel or solicit a sale. In New Zealand, it's not illegal at all. In What Do Sex Workers Want?, Juno Mac and Molly Smith - both sex workers - explain what each of these laws do in practice to those doing the work. Addressing each model in turn, they show that prohibiting the sex industry actually exacerbates every harm that sex workers are vulnerable to.

    In the first feminist critique of modern political theory, Okin shows how the failure to apply theories of justice to the family not only undermines our most cherished democratic values but has led to a major crisis over gender-related issues.

    Knott structures the book to mirror the phases of pregnancy and early mothering, and covers everything from miscarriage to late-night feedings, from morning sickness to evolving terminologies. Though her own story is ever-present--we feel the baby on her hip, always at her side--Knott uses her present moment as a means of exploring the past, drawing on techniques from literary nonfiction and feminist maternal theory's embrace of anecdote. She builds a trellis of tiny scenes of mothering, using diaries, letters, reports, court records, conduct guides, clothing, and objects, as well as her own experiences. In so doing, Knott creates an unexpectedly moving and visceral depiction of mothering, past and present, as both a shared and an endlessly various human experience. Mothering, in her hands, is bodily but not merely biological.

    “Anchored by data and aromatized by anecdotes, [Rosin] concludes that women are gaining the upper hand." – The Washington Post Men have been the dominant sex since, well, the dawn of mankind. But Hanna Rosin was the first to notice that this long-held truth is, astonishingly, no longer true. Today, by almost every measure, women are no longer gaining on men: They have pulled decisively ahead. And “the end of men”—the title of Rosin’s Atlantic cover story on the subject—has entered the lexicon as dramatically as Betty Friedan’s “feminine mystique,” Simone de Beauvoir’s “second sex,” Susan Faludi’s “backlash,” and Naomi Wolf’s “beauty myth” once did. In this landmark book, Rosin reveals how our current state of affairs is radically shifting the power dynamics between men and women at every level of society, with profound implications for marriage, sex, children, work, and more. With wide-ranging curiosity and insight unhampered by assumptions or ideology, Rosin shows how the radically different ways men and women today earn, learn, spend, couple up—even kill—has turned the big picture upside down. And in The End of Men she helps us see how, regardless of gender, we can adapt to the new reality and channel it for a better future.

    There's no longer any shame in not fitting the traditional ideals of beauty, as proven by Gabi Gregg, Tess Holliday, Beth Ditto and thousands of bloggers and models acround the world.The online plus-size fashion community is loud, international and confident. Millions of #ootd photos are shared everyday, showing off amazing style and beautiful people. Plus+ gathers together the very best, and celebrates all shapes, sizes and aesthetics - a beautiful, sharply designed, glossy collection to inspire everyone, plus-size or otherwise.

    It is a fine, fresh morning that will become hot as the day progresses. Crowds are gathering at the Court of Common Pleas.On trial is Caroline Sheridan, a beautiful and clever young woman who had been manoeuvred into marrying the Honourable George Norton when she was just nineteen. Ten years older, he is a dull, violent and controlling lawyer but Caroline is determined not to be a traditional wife. By her early twenties, Caroline has become a respected poet and songwriter, clever mimic and outrageous flirt. Her beauty and wit attract many male admirers, including the Prime Minister, Lord Melbourne. After years of simmering jealousy, Norton accuses Caroline and the Prime Minister of a 'criminal conversation' (adultery) precipitating 'the scandal of the century'. In Westminster Hall that day is a young Charles Dickens, who would, just a few months later, fictionalise the event as 'Bardell v. Pickwick' in The Pickwick Papers. After a trial lasting twelve hours, the jury's not guilty verdict is immediate, unanimous and sensational. Norton is a laughing stock. Angry and humiliated he cuts Caroline off, as was his right under the law, refuses to let her see their three sons, seizes her manuscripts and letters, her clothes and jewels, and leaves her destitute. The Criminal Conversation of Mrs Norton is the extraordinary story of one woman's fight for the rights of women everywhere. For the next thirty years Caroline campaigned for women and battled male-dominated Victorian society, helping to write the Infant Custody Act (1839), and influenced the Matrimonial Causes (Divorce) Act (1857) and the Married Women's Property Act (1870), which gave women a separate legal identity for the first time.