Feminist, political, and activist writers alike will present their ideas for a paradigm shift from the “No Means No” model—an approach that while necessary for where we were in 1974, needs an overhaul today.Yes Means Yes will bring to the table a dazzling variety of perspectives and experiences focused on the theory that educating all people to value female sexuality and pleasure leads to viewing women differently, and ending rape. Yes Means Yes aims to have radical and far-reaching effects: from teaching men to treat women as collaborators and not conquests, encouraging men and women that women can enjoy sex instead of being shamed for it, and ultimately, that our children can inherit a world where rape is rare and swiftly punished. With commentary on public sex education, pornography, mass media, Yes Means Yes is a powerful and revolutionary anthology.

    More than a journey through a turbulent time in American history, this is the story of a black woman's battle to define herself.

    A gifted grassroots organizer, Baker shunned the spotlight in favor of vital behind-the-scenes work that helped power the black freedom struggle. She was a national officer and key figure in the National Association for the Advancement of Colored People, one of the founders of the Southern Christian Leadership Conference, and a prime mover in the creation of the Student Nonviolent Coordinating Committee. Baker made a place for herself in predominantly male political circles that included W. E. B. Du Bois, Thurgood Marshall, and Martin Luther King Jr., all the while maintaining relationships with a vibrant group of women, students, and activists both black and white.In this deeply researched biography, Barbara Ransby chronicles Baker's long and rich political career as an organizer, an intellectual, and a teacher, from her early experiences in depression-era Harlem to the civil rights movement of the 1950s and 1960s. Ransby shows Baker to be a complex figure whose radical, democratic worldview, commitment to empowering the black poor, and emphasis on group-centered, grassroots leadership set her apart from most of her political contemporaries. Beyond documenting an extraordinary life, the book paints a vivid picture of the African American fight for justice and its intersections with other progressive struggles worldwide across the twentieth century.

    Her celebrity, however, has obscured other mid-century trans narratives—ones lived by African Americans such as Lucy Hicks Anderson and James McHarris. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. In Black on Both Sides, C. Riley Snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence.Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the “father of American gynecology,” to the negation of blackness that makes transnormativity possible.Revealing instances of personal sovereignty among blacks living in the antebellum North that were mapped in terms of “cross dressing” and canonical black literary works that express black men’s access to the “female within,” Black on Both Sides concludes with a reading of the fate of Phillip DeVine, who was murdered alongside Brandon Teena in 1993, a fact omitted from the film Boys Don’t Cry out of narrative convenience. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds.

    Brown.From its inception in California in 1974 to its Broadway revival in 2022, the Obie Award–winning for colored girls who have considered suicide/when the rainbow is enuf has excited, inspired, and transformed audiences all over the country for nearly fifty years. Passionate and fearless, Shange’s words reveal what it meant to be a woman of color in the 20th century. First published in 1975, when it was praised by The New Yorker for “encompassing…every feeling and experience a woman has ever had,” for colored girls who have considered suicide/when the rainbow is enuf will be read and performed for generations to come. Now with new introductions by Jesmyn Ward and Broadway director Camille A. Brown, and one poem not included in the original, here is the complete text of a groundbreaking dramatic prose poem that resonates with unusual beauty in its fierce message to the world.

    Historian Stephanie E. Jones-Rogers draws on a variety of sources to show that slave-owning women were sophisticated economic actors who directly engaged in and benefited from the South’s slave market. Because women typically inherited more slaves than land, enslaved people were often their primary source of wealth. Not only did white women often refuse to cede ownership of their slaves to their husbands, they employed management techniques that were as effective and brutal as those used by slave-owning men. White women actively participated in the slave market, profited from it, and used it for economic and social empowerment. By examining the economically entangled lives of enslaved people and slave-owning women, Jones-Rogers presents a narrative that forces us to rethink the economics and social conventions of slaveholding America.

    Once a dirty word brushed away with a grimace, "feminist" has been rebranded as a shiny label sported by movie and pop stars, fashion designers, and multi-hyphenate powerhouses like Beyoncé It drives advertising and marketing campaigns for everything from wireless plans to underwear to perfume, presenting what's long been a movement for social justice as just another consumer choice in a vast market. Individual self-actualization is the goal, shopping more often than not the means, and celebrities the mouthpieces. But what does it mean when social change becomes a brand identity? Feminism's splashy arrival at the center of today's media and pop-culture marketplace, after all, hasn't offered solutions to the movement's unfinished business. Planned Parenthood is under sustained attack, women are still paid 77 percent -- or less -- of the man's dollar, and vicious attacks on women, both on- and offline, are utterly routine. Andi Zeisler, a founding editor of Bitch Media, draws on more than twenty years' experience interpreting popular culture in this biting history of how feminism has been co-opted, watered down, and turned into a gyratory media trend. Surveying movies, television, advertising, fashion, and more, Zeisler reveals a media landscape brimming with the language of empowerment, but offering little in the way of transformational change. Witty, fearless, and unflinching, We Were Feminists Once is the story of how we let this happen, and how we can amplify feminism's real purpose and power.

    In her groundbreaking book, New York magazine writer Ariel Levy argues that, if male chauvinist pigs of years past thought of women as pieces of meat, Female Chauvinist Pigs of today are doing them one better, making sex objects of other women – and of themselves. Irresistibly witty and wickedly intelligent, Female Chauvinist Pigs makes the case that the rise of raunch does not represent how far women have come; it only proves how far they have left to go.

    From music and fashion to activism and language, black culture constantly achieves worldwide influence. Yet, when it comes to who is allowed to thrive from black hipness, the pioneers are usually left behind as black aesthetics are converted into mainstream success—and white profit. Weaving together narrative, scholarship, and critique, Lauren Michele Jackson reveals why cultural appropriation—something that’s become embedded in our daily lives—deserves serious attention. It is a blueprint for taking wealth and power, and ultimately exacerbates the economic, political, and social inequity that persists in America. She unravels the racial contradictions lurking behind American culture as we know it—from shapeshifting celebrities and memes gone viral to brazen poets, loveable potheads, and faulty political leaders.An audacious debut, White Negroes brilliantly summons a re-interrogation of Norman Mailer’s infamous 1957 essay of a similar name. It also introduces a bold new voice in Jackson. Piercing, curious, and bursting with pop cultural touchstones, White Negroes is a dispatch in awe of black creativity everywhere and an urgent call for our thoughtful consumption.

    She shows how contemporary surveillance technologies and practices are informed by the long history of racial formation and by the methods of policing black life under slavery, such as branding, runaway slave notices, and lantern laws. Placing surveillance studies into conversation with the archive of transatlantic slavery and its afterlife, Browne draws from black feminist theory, sociology, and cultural studies to analyze texts as diverse as the methods of surveilling blackness she discusses: from the design of the eighteenth-century slave ship Brooks, Jeremy Bentham's Panopticon, and The Book of Negroes, to contemporary art, literature, biometrics, and post-9/11 airport security practices. Surveillance, Browne asserts, is both a discursive and material practice that reifies boundaries, borders, and bodies around racial lines, so much so that the surveillance of blackness has long been, and continues to be, a social and political norm.

    It just isn't very cool anymore. Enter Full Frontal Feminism, a book that embodies the forward-looking messages that author Jessica Valenti propagated as founder of the popular website, Feministing.com.This revised edition includes a new foreword by Valenti, reflecting upon what’s happened in the five years since Full Frontal Feminism was originally published. With new openers from Valenti in every chapter, the book covers a range of topics, including pop culture, health, reproductive rights, violence, education, relationships, and more.Chapters include:You’re a Hardcore Feminist. I Swear.Feminists Do It Better (and Other Sex Tips)Pop Culture Gone WildThe Blame (and Shame) GameIf These Uterine Walls Could TalkMy Big Fat Unnecessary Wedding and Other Dating Diseases“Real” Women Have BabiesI Promise I Won’t Say “Herstory”Boys Do CryBeauty CultSex and the City Voters, My AssValenti knows better than anyone that young women need a smart-ass book that deals with real-life issues in a style they can relate to. No rehashing the same old issues or belaboring where today's young women have gone wrong. Feminism should be something young women feel comfortable with. Full Frontal Feminism is sending out the message to readers—yeah, you're feminists, and that's actually pretty frigging cool.

    Amid growing awareness of police violence, individual Black men including Michael Brown, Eric Garner, Philando Castile, and Freddie Gray have been the focus of most media-driven narratives. Yet Black women, Indigenous women, and other women of color also face daily police violence. Invisible No More places the individual stories of women and girls such as Sandra Bland, Dajerria Becton, Mya Hall, and Rekia Boyd into broader contexts, centering women of color within conversations around the twin epidemics of police violence and mass incarceration. Invisible No More also documents the evolution of a movement for justice for women of color targeted by police that has been building for decades, largely in the shadows of mainstream campaigns for racial justice and police accountability. Informed by twenty years of research and advocacy by Black lesbian immigrant and police-misconduct attorney Andrea Ritchie, this groundbreaking work demands a sea change in how police violence is understood by mainstream media, policymakers, academics, and the general public, as well as a radical rethinking of our visions of safety and the means we devote to achieving it."

    Now, Hansberry tells her own life story in an autobiography that rings with the voice of its creator.

    The response was tremendous — clearly she articulated something many women had sensed for years: the problem is with capitalism, not with us.Ghodsee, an acclaimed ethnographer and professor of Russian and East European Studies, spent years researching what happened to women in countries that transitioned from state socialism to capitalism. She argues here that unregulated capitalism disproportionately harms women, and that we should learn from the past. By rejecting the bad and salvaging the good, we can adapt some socialist ideas to the 21st century and improve our lives.She tackles all aspects of a woman's life - work, parenting, sex and relationships, citizenship, and leadership. In a chapter called "Women: Like Men, But Cheaper," she talks about women in the workplace, discussing everything from the wage gap to harassment and discrimination. In "What To Expect When You're Expecting Exploitation," she addresses motherhood and how "having it all" is impossible under capitalism.Women are standing up for themselves like never before, from the increase in the number of women running for office to the women's march to the long-overdue public outcry against sexual harassment. Interest in socialism is also on the rise -- whether it's the popularity of Bernie Sanders or the skyrocketing membership numbers of the Democratic Socialists of America. It's become increasingly clear to women that capitalism isn't working for us, and Ghodsee is the informed, lively guide who can show us the way forward.

    of California, Irvine) explores the historical development of prothin, antifat ideologies deployed in support of Western, patriarchal white supremacy. Beginning in the aesthetic ideals circulated by Renaissance thinkers and artists and bringing her narrative up into the 1990s, Strings charts how white Europeans and Anglo-Americans developed ideals of race and beauty that both explicitly and figuratively juxtaposed slim, desirable white women against corpulent, seemingly monstrous black women. The work is divided into three sections. The two chapters in the first part consider how Renaissance white women and women of color were depicted as plump and feminine, separated by class, yet belonging to the same gender. The second part of the work charts the rise of modern racial ideologies that yoked feminine beauty to Protestant, Anglo-Saxon whiteness. Later chapters and the epilogue consider how Americans normalized the "scientific management" of white women's bodies for the purpose of racial uplift, a project that continued to situate black women as the embodied Other. The author does not address fat from the angle of health or previous attitudes white Europeans held towards corpulence.