On election night, after Obama was announced the winner, a distressed Bill O’Reilly lamented that he didn’t live in "a traditional America anymore.” He was joined by others who bellowed their grief on the talk radio airwaves, the traditional redoubt of angry white men. Why were they so angry? Sociologist Michael Kimmel, one of the leading writers on men and masculinity in the world today, has spent hundreds of hours in the company of America’s angry white men from white supremacists to men's rights activists to young students in pursuit of an answer. Angry White Men presents a comprehensive diagnosis of their fears, anxieties, and rage.Kimmel locates this increase in anger in the seismic economic, social and political shifts that have so transformed the American landscape. Downward mobility, increased racial and gender equality, and a tenacious clinging to an anachronistic ideology of masculinity has left many men feeling betrayed and bewildered. Raised to expect unparalleled social and economic privilege, white men are suffering today from what Kimmel calls "aggrieved entitlement": a sense that those benefits that white men believed were their due have been snatched away from them.Angry White Men discusses, among others, the sons of small town America, scarred by underemployment and wage stagnation. When America’s white men feel they’ve lived their lives the 'right' way, worked hard and stayed out of trouble, and still do not get economic rewards, then they have to blame somebody else. Even more terrifying is the phenomenon of angry young boys. School shootings in the United States are not just the work of "misguided youth" or "troubled teens"—they’re all committed by boys. These alienated young men are transformed into mass murderers by a sense that using violence against others is their right.The future of America is more inclusive and diverse. The choice for angry white men is not whether or not they can stem the tide of history: they cannot. Their choice is whether or not they will be dragged kicking and screaming into that inevitable future, or whether they will walk openly and honorably—far happier and healthier, incidentally—alongside those they’ve spent so long trying to exclude.

    From art museums and university hospitals to think tanks and church charities, over 1.5 million organizations of staggering diversity share the tax-exempt 501(c)(3) designation, if little else. Many social justice organizations have joined this world, often blunting political goals to satisfy government and foundation mandates. But even as funding shrinks and government surveillance rises, many activists often find it difficult to imagine movement-building outside the nonprofit model. The Revolution Will Not Be Funded gathers original essays by radical activists from around the globe who are critically rethinking the long-term consequences of this investment. Together with educators and nonprofit staff they finally name the “nonprofit industrial complex” and ask hard questions: How did politics shape the birth of the nonprofit model? How does 501(c)(3) status allow the state to co-opt political movements? Activists--or careerists? How do we fund the movement outside this complex? Urgent and visionary, The Revolution Will Not Be Funded is an unbeholden exposé of the “nonprofit industrial complex” and its quietly devastating role in managing dissent.

    Indignant at the silence on the issue in India, she wrote an article for an Indian women’s magazine questioning how we perceive rape and rape victims. Thirty years later her story went viral in the wake of the 2012 fatal gang rape in Delhi and the global outcry that followed. In 2013, Abdulali published an op-ed in the New York Times called “After Being Raped, I Was Wounded; My Honor Wasn’t” that was widely circulated. Now, as the #metoo and #timesup movements blow open the topic of sexual assault and rape, What We Talk About When We Talk About Rape is a brilliant and entirely original contribution to our understanding.Drawing on her own experience, her research, her work with hundreds of survivors as the head of a rape crisis center in Boston, and three decades of grappling with the issue as a feminist intellectual and writer, Abdulali examines the contemporary discourse about rape and rape culture, questioning our assumptions and asking how we want to raise the next generation. She interviews survivors whose moving personal stories of hard-won strength, humor, and wisdom collectively tell the larger story of how societies may begin to heal.Abdulali also explores what we don’t say. Is rape always a life-defining event? Does rape always symbolize something? Is rape worse than death? Is rape related to desire? Who gets raped? Is rape inevitable? Is one rape worse than another? How does one recover a sense of safety and joy? How do we raise sons? Is a world without rape possible? Both deeply personal and meticulously researched, What We Talk About When We Talk About Rape is a rallying cry and required reading for us all.

    Men grow up being told that boys don’t cry and dolls are for girls. They learn they must hide their feelings and anxieties, that their masculinity must constantly be proven. They must be the breadwinners. They must be the romantic pursuers. This hasn’t been good for the culture at large: 99% of school shooters are male; men in fraternities are 300% more likely to rape; a woman serving in uniform has a higher likelihood of being assaulted by a fellow soldier than to be killed by enemy fire.In For the Love of Men, author Liz Plank offers a smart, insightful, and deeply researched guide for what we're all going to do about toxic masculinity. For both women looking to guide the men in their lives and men who want to do better and just don’t know how, For the Love of Men will lead the conversation on men's issues in a society where so much is changing but gender roles have remained strangely stagnant.What are we going to do about men? Plank has the answer--and it has the possibility to change the world for men and women alike.

    I used to say my favorite color was black to be cool, but it is pink—all shades of pink. If I have an accessory, it is probably pink. I read Vogue, and I’m not doing it ironically, though it might seem that way. I once live-tweeted the September issue.In these funny and insightful essays, Roxane Gay takes us through the journey of her evolution as a woman of color while also taking readers on a ride through culture of the last few years and commenting on the state of feminism today. The portrait that emerges is not only one of an incredibly insightful woman continually growing to understand herself and our society, but also one of our culture.Bad Feminist is a sharp, funny, and spot-on look at the ways in which the culture we consume becomes who we are, and an inspiring call-to-arms of all the ways we still need to do better.Feel me, see me, hear me, reach me --Peculiar benefits --Typical first year professor --To scratch, claw or grope clumsily or frantically --How to be friends with another woman --Girls, girls, girls --I once was Miss America --Garish, glorious spectacles --Not here to make friends --How we all lose --Reaching for catharsis : getting fat right (or wrong) and Diana Spechler's Skinny --The smooth surfaces of idyll --The careless language of sexual violence --What we hunger for --The illusion of safety/the safety of illusion --The spectacle of broken men --A tale of three coming out stories --Beyond the measure of men --Some jokes are funnier than others --Dear young ladies who love Chris Brown --So much they would let him beat them --Blurred lines, indeed --The trouble with Prince Charming, or, He who trespassed against us --The solace of preparing fried foods and other quaint remembrances from 1960s Mississippi : thoughts on The help --Surviving Django --Beyond the struggle narrative --The morality of Tyler Perry --The last day of a young black man --When less is more --The politics of respectability --When Twitter does what journalism cannot --The alienable rights of women --Holding out for a hero --A tale of two profiles --The racism we all carry --Tragedy, call, compassion, response --Bad feminist : take one --Bad feminist : take two

    These political, philosophical, and literary essays mark the first collection of theoretical writing from the acclaimed novelist and French feminist writer Monique Wittig.

    Although on the surface, simians, cyborgs and women may seem an odd threesome, Haraway describes their profound link as creatures which have had a great destabilizing place in Western evolutionary technology and biology. Throughout this book, Haraway analyzes accounts, narratives, and stories of the creation of nature, living organisms, and cyborgs. At once a social reality and a science fiction, the cyborg--a hybrid of organism and machine--represents transgressed boundaries and intense fusions of the nature/culture split. By providing an escape from rigid dualisms, the cyborg exists in a post-gender world, and as such holds immense possibilities for modern feminists. Haraway's recent book, Primate Visions, has been called outstanding, original, and brilliant, by leading scholars in the field. (First published in 1991.)

    Once the watchwords of feminism, these terms have now been co-opted by a society that sells women an airbrushed, highly sexualised and increasingly narrow vision of femininity. While the opportunities available to women may have expanded, the ambitions of many young girls are in reality limited by a culture that sees women's sexual allure as their only passport to success. At the same time we are encouraged to believe that the inequality we observe all around us is born of innate biological differences rather than social factors. Drawing on a wealth of research and personal interviews, Natasha Walter, author of the groundbreaking THE NEW FEMINISM and one of Britain's most incisive cultural commentators, gives us a straight-talking, passionate and important book that makes us look afresh at women and girls, at sexism and femininity, today.

    José Esteban Muñoz looks at how those outside the racial and sexual mainstream negotiate majority culture—not by aligning themselves with or against exclusionary works but rather by transforming these works for their own cultural purposes. Muñoz calls this process “disidentification,” and through a study of its workings, he develops a new perspective on minority performance, survival, and activism.Disidentifications is also something of a performance in its own right, an attempt to fashion a queer world by working on, with, and against dominant ideology. By examining the process of identification in the work of filmmakers, performance artists, ethnographers, Cuban choteo, forms of gay male mass culture (such as pornography), museums, art photography, camp and drag, and television, Muñoz persistently points to the intersecting and short-circuiting of identities and desires that result from misalignments with the cultural and ideological mainstream in contemporary urban America.Muñoz calls attention to the world-making properties found in performances by queers of color—in Carmelita Tropicana’s “Camp/Choteo” style politics, Marga Gomez’s performances of queer childhood, Vaginal Creme Davis’s “Terrorist Drag,” Isaac Julien’s critical melancholia, Jean-Michel Basquiat’s disidentification with Andy Warhol and pop art, Felix Gonzalez-Torres’s performances of “disidentity,” and the political performance of Pedro Zamora, a person with AIDS, within the otherwise artificial environment of the MTV serial The Real World.

    Among the contents are essays about other writers, accounts of the civil rights movement of the 1960s and the antinuclear movement of the 1980s, and a vivid memoir of a scarring childhood injury and her daughter's healing words.

    While many Marxists tend to focus on the productive economy, this book focuses on issues such as child care, health care, education, family life and the roles of gender, race and sexuality, all of which are central to understanding the relationship between economic exploitation and social oppression.In this book, leading writers such as Lise Vogel, Nancy Fraser, David McNally and Susan Ferguson reveal the ways in which daily and generational reproductive labour, found in households, schools, hospitals and prisons, also sustains the drive for accumulation.Presenting a more sophisticated alternative to intersectionality, these essays provide ideas which have important strategic implications for anti-capitalists, anti-racists and feminists attempting to find a path through the seemingly ever more complex world we live in.

    In relationships, we initiate the hard conversations. At home, we shoulder the mental load required to keep our households running. At work, we moderate our tone, explaining patiently and speaking softly. In the world, we step gingerly to keep ourselves safe. We do this largely invisible, draining work whether we want to or not—and we never clock out. No wonder women everywhere are overtaxed, exhausted, and simply fed up.In her ultra-viral article “Women Aren’t Nags—We’re Just Fed Up,” shared by millions of readers, Gemma Hartley gave much-needed voice to the frustration and anger experienced by countless women. Now, in Fed Up, Hartley expands outward from the everyday frustrations of performing thankless emotional labor to illuminate how the expectation to do this work in all arenas—private and public—fuels gender inequality, limits our opportunities, steals our time, and adversely affects the quality of our lives.More than just name the problem, though, Hartley teases apart the cultural messaging that has led us here and asks how we can shift the load. Rejecting easy solutions that don’t ultimately move the needle, Hartley offers a nuanced, insightful guide to striking real balance, for true partnership in every aspect of our lives. Reframing emotional labor not as a problem to be overcome, but as a genderless virtue men and women can all learn to channel in our quest to make a better, more egalitarian world, Fed Up is surprising, intelligent, and empathetic essential reading for every woman who has had enough with feeling fed up.

    Every month, the women would huddle in a friend’s apartment to share sexist job frustrations and trade tips for how best to tackle them. Once upon a time, you might have called them a consciousness-raising group. But the problems of today’s working world are more subtle, less pronounced, harder to identify—and, if Ellen Pao is any indication, harder to prove—than those of their foremothers. These women weren’t just there to vent. They needed battle tactics. And so the fight club was born.Hard-hitting and entertaining, Feminist Fight Club blends personal stories with research, statistics, infographics, and no-bullsh*t expert advice. Bennett offers a new vocabulary for the sexist workplace archetypes women encounter everyday—such as the Manterrupter who talks over female colleagues in meetings or the Himitator who appropriates their ideas—and provides practical hacks for navigating other gender landmines in today’s working world. With original illustrations, Feminist Mad Libs, a Negotiation Cheat Sheet, as well as fascinating historical research and a kit for “How to Start Your Own Club,” Feminist Fight Club tackles both the external (sexist) and internal (self-sabotaging) behaviors that plague today’s women—as well as the system that perpetuates them.

    We wanted to hear about folks’ experiences confronting abusers, both with cops and courts and with methods outside the criminal justice system."—The Revolution Starts at Home collectiveLong demanded and urgently needed, The Revolution Starts at Home: Confronting Intimate Violence Within Activist Communities finally breaks the dangerous silence surrounding the “secret” of intimate violence within social justice circles. This watershed collection of stories and strategies tackles the multiple forms of violence encountered right where we live, love, and work for social change—and delves into the nitty-gritty on how we might create safety from abuse without relying on the state. Drawing on over a decade of community accountability work, along with its many hard lessons and unanswered questions, The Revolution Starts at Home offers potentially life-saving alternatives for creating survivor safety while building a movement where no one is left behind. Ching-In Chen is the author of The Heart's Traffic. Kundiman Fellow Jai Dulani is an interdisciplinary storyteller and activist/educator. Leah Lakshmi Piepzna-Samarasinha is the author of Consensual Genocide. Andrea Smith is the author of Conquest: Sexual Violence and American Indian Genocide.

    Powerful and passionate, Care Work is a crucial and necessary call to arms.