Meston, a clinical psychologist at the University of Texas at Austin, and evolutionary psychologist David M. Buss joined forces to investigate the underlying sexual motivations of women, what they found astonished them.Through the voices of real women, Meston and Buss reveal the motivations that guide women's sexual decisions and explain the deep-seated psychology and biology that often unwittingly drive women's desires-sometimes in pursuit of health or pleasure, or sometimes for darker, disturbing reasons that a woman may not fully recognize. Drawing on more than a thousand intensive interviews conducted solely for the book, as well as their pioneering research on physiological response and evolutionary emotions, Why Women Have Sex uncovers an amazingly complex and nuanced portrait of female sexuality. The authors delve into the use of sex as a defensive tactic against a mate's infidelity (protection), as a ploy to boost self-confidence (status), as a barter for gifts or household chores (resource acquisition), or as a cure for a migraine headache (medication).Why Women Have Sex stands as the richest and deepest psychological understanding of female sexuality yet achieved and promises to inform every woman's (and her partner's) awareness of her relationship to sex and her sexuality.

    It is the first book in the nothern collection with 4 books coming out in 2020.Written and illustrated by instagram poet and artist, Kamilla Toln�, the moon guides readers through a journey that is both familiar and unknown. The poems tell stories of loss, love, grief, struggle, transformation, and most of all, hope.Just as the moon orbits earth, the moon poetry book revolves around its reader, their resilience, their healing, and their growth. the moon will always be there when you need her most. All you have to do is turn the page.

    The girl, growing up in the old Roman coastal town of Cherchel, sees her life in contrast to that of a neighboring French family, and yearns for more than law and tradition allow her to experience. Headstrong and passionate, she escapes from the cloistered life of her family to join her brother in the maquis' fight against French domination. Djebar's exceptional descriptive powers bring to life the experiences of girls and women caught up in the dual struggle for independence--both their own and Algeria's.

    John s is known as a flourishing port city, a cultural gem, and popular tourist destination: a picturesque city of pubs and restaurants, music and colourful houses. But a thriving sex trade quietly exists beneath that polished conception, a trade few are aware of or even understand. In an engaging journalistic style, Kerri Cull respectfully reveals the people who make up the city s surprisingly diverse sex industry and, in the process, makes a compelling humanistic argument for understanding before judgment."

    In this enlightening book, Carol Tavris unmasks the widespread but invisible custom -- pervasive in the social sciences, medicine, law, and history -- of treating men as the normal standard, women as abnormal. Tavris expands our vision of normalcy by illuminating the similarities between women and men and showing that the real differences lie not in gender, but in power, resources, and life experiences. Winner of the American Association for Applied and Preventive Psychology's Distinguished Media Contribution Award

    In this brilliant exploration of the apparent conflicts and tensions between feminism and contemplative spirituality, Carol Lee Flinders uncovers how a life of meaning, self-knowledge, and freedom depends on both.In 'At the Root of This Longing'

    Guerrilla Girls: The Art of Behaving Badly is the first book to catalog the entire career of the Guerrilla Girls from 1985 to present.The Guerrilla girls are a collective of political feminist artists who expose discrimination and corruption in art, film, politics, and pop culture all around the world.This book explores all their provocative street campaigns, unforgettable media appearances, and large-scale exhibitions.Each copy comes with a punch-out gorilla mask that invites readers to step up and join the movement themselves.Captions by the Guerrilla Girls themselves contextualize the visuals.Explores their well-researched, intersectional takedown of the patriarchyIn 1985, a group of masked feminist avengers—known as the Guerrilla Girls—papered downtown Manhattan with posters calling out the Museum of Modern Art for its lack of representation of female artists.They quickly became a global phenomenon, and the fearless activists have produced hundreds of posters, stickers, and billboards ever since.More than a monograph, this book is a call to arms.This career-spanning volume is published to coincide with their 35th anniversary.Perfect for artists, art lovers, feminists, fans of the Guerrilla Girls, students, and activistsAdd it to the shelf with books like Wall and Piece by Banksy, Why We March: Signs of Protest and Hope by Artisan, and Graffiti Women: Street Art from Five Continents by Nicholas Ganz

    In this compelling and provocative work, Gayle Sulik shows that though this pink ribbon culture has brought breast cancer advocacy muchattention, it has not had the desired effect of improving women's health. It may, in fact, have done the opposite. Based on eight years of research, analysis of advertisements and breast cancer awareness campaigns, and hundreds of interviews with those affected by the disease, Pink Ribbon Blueshighlights the hidden costs of the pink ribbon as an industry, one in which breast cancer has become merely a brand name with a pink logo. Indeed, while survivors and supporters walk, run, and purchase ribbons for a cure, cancer rates rise, the cancer industry thrives, corporations claim responsiblecitizenship while profiting from the disease, and breast cancer is stigmatized anew for those who reject the pink ribbon model. But Sulik also outlines alternative organizations that make a real difference, highlights what they do differently, and presents a new agenda for the future.

    Ranging from neo-Conceptual artworks to broader forms of cultural criticism, these rare texts are brought together in this volume for the first time, placing Gordon’s writing within the context of the artist-critics of her generation, including Mike Kelley, John Miller, and Dan Graham. In addressing key stakes within contemporary art, architecture, music, and the performance of male and female gender roles, Gordon provides a prescient analysis of such figures as Kelley, Glenn Branca, Rhys Chatham, Tony Oursler, and Raymond Pettibon, in addition to reflecting on her own position as a woman on stage. The result—Is It My Body?—is a collection that feels as timely now as when it was written. This volume additionally features a conversation between Gordon and Jutta Koether, in which they discuss their collaborations in art, music, and performance.

    Paid domestic work has largely become the domain of disenfranchised immigrant women of color. Unlike the working poor who toil in factories and fields, these women see, touch, and breathe the material and emotional world of their employers' homes. They scrub grout, coax reluctant children to eat their vegetables, launder and fold clothes, dust, vacuum, and witness intimate family dynamics. In this enlightening and timely work, Pierrette Hondagneu-Sotelo highlights the voices, experiences, and views of Mexican and Central American women who care for other people's children and homes, as well as the outlooks of the women who employ them in Los Angeles.All royalties from this book will be donated to the Domestic Workers’ Association, a division of the Coalition for Humane Immigrant Rights of Los Angeles (CHIRLA).

    Unlike those organized Islamist activities that seek to seize or transform the state, this is a moral reform movement whose orthodox practices are commonly viewed as inconsequential to Egypt's political landscape. Saba Mahmood's compelling exposition of these practices challenges this assumption by showing how the ethical and the political are indelibly linked within the context of such movements.Not only is this book a sensitive ethnography of a critical but largely ignored dimension of the Islamic revival, it is also an unflinching critique of the secular-liberal principles by which some people hold such movements to account. The book addresses three central questions: How do movements of moral reform help us rethink the normative liberal account of politics? How does the adherence of women to the patriarchal norms at the core of such movements parochialize key assumptions within feminist theory about freedom, agency, authority, and the human subject? How does a consideration of debates about embodied religious rituals among Islamists and their secular critics help us understand the conceptual relationship between bodily form and political imaginaries? Politics of Piety is essential reading for anyone interested in issues at the nexus of ethics and politics, embodiment and gender, and liberalism and postcolonialism.

    In postulating a positive theory of the hijâb, the author challenges with great sophistication both the commonly held view of Muslim women being subjugated by men, as well as the liberal feminists' who criticize the choice of women to cover themselves as ultimately unliberating. The author argues that in a culture of consumerism, the hijâb can be experienced as a liberation from the tyranny of the beauty myth and the thin "ideal" woman. In dispelling some widely held myths about Muslim women and the hijâb, the author introduces respectability to the voice of believing Muslim women, claiming that liberation and the equality of women are fundamental to Islam itself.

    Gerda Lerner argues that male dominance over women is not "natural" or biological, but the product of an historical development begun in the second millennium B.C. in the Ancient Near East. As patriarchy as a system of organizing society was established historically, she contends, it can also be ended by the historical process.Focusing on the contradiction between women's central role in creating society and their marginality in the meaning-giving process of definition and interpretation, Lerner explores such fascinating questions as: What can account for women's exclusion from the historical process? What could explain the long delay--more than 3,500 years--in women's coming to consciousness of their own subordinate position? She goes back to the cultures of the earliest known civilizations--those of the ancient Near East--to discover the origins of the major gender metaphors of Western civilization. Using historical, literary, archaeological, and artistic evidence, she then traces the development of these ideas, symbols, and metaphors and their incorporation into Western civilization as the basis of patriarchal gender relations.

    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.

    A companion to TIME's multi-platform documentary, the book includes 15 first person deep-dives into the lives of influential women such as General Lori Robinson, the first woman to lead troops into combat, Kathryn Sullivan, the first woman to walk in space, and Aretha Franklin, the first woman inducted into the Rock and Roll Hall of Fame. Many others, including Oprah Winfrey, Madeline Albright, and Sheryl Sandburg offer their own personal reflections, thematic quotes and perspectives on balance, perseverance and strength.Each first-person piece or quote is accompanied by a distinctive portrait by photographer Luisa Dorr ― set up and taken on her iPhone. Others included in this unforgettable volume: Serena Williams, Ellen Degeneres, Loretta Lynch, Shonda Rimes, Nancy Pelosi, Rita Moreno, Cindy Sherman and Mo’Ne Davis.With a stirring introduction by Nancy Gibbs, herself a pioneer as the first female editor of TIME magazine, this is an inspirational book for all women and men.