Mosse provides the first historical account of the masculine stereotype in modern Western culture, tracing the evolution of the idea of manliness to reveal how it came to embody physical beauty, courage, moral restraint, and a strong will. This stereotype, he finds, originated in the tumultuous changes of the eighteenth century, as Europe's dominant aristocrats grudgingly yielded to the rise of the professional, bureaucratic, and commercial middle classes. Mosse reveals how the new bourgeoisie, faced with a bewildering, rapidly industrialized world, latched onto the knightly ideal of chivalry. He also shows how the rise of universal conscription created a soldierly man as an ideal type. In bringing his examination up to the present, Mosse studies the key historical roles of the so-called fairer sex (women) and unmanly men (Jews and homosexuals) in defining and maintaining the male stereotype, and considers the possible erosion of that stereotype in our own time.

    These coming-of-age poems draw inspiration equally from science textbooks and fairy tales. As the final poem prays, “I will see the moon and morning and know”. Branches explores what it means to live to the next day, and the next, before we fully understand what we are surviving.

    A divided populace who sees him as savior or sinner. Streets filled with guns. Anger toward those who can't speak English. The presence of the Klan. A media in its infancy, awakening to their ability to sway public discourse. This is not modern day America, but postwar Texas. Beeville was the most American of small towns--the place that GIs had fantasized about while fighting through the ruins of Europe, a place of good schools, clean streets, and churches. Old West justice ruled, as evidenced by a 1947 shootout when outlaws surprised popular sheriff Vail Ennis at a gas station and shot him five times, point blank, in the belly. Ellis managed to draw his gun and put three bullets in each assailant; he reloaded and put in each three more. Then he drove himself sixteen miles to a hospital. Time Magazine's full-page article on the shooting was seen by some as a referendum on law enforcement owing to the sheriff's extreme violence, but telegrams, cards, and flowers from all across America poured into the Beeville's tiny post office. Most of Beeville took comfort in knowing that Ennis kept them safe, that Texas was still Texas Yet when a second violent incident threw Ennis into the crosshairs of public opinion once again, his downfall was orchestrated by an unlikely figure: his close friend and Beeville's favorite son, Johnny Barnhart. Feeling the town had to take responsibility for the violence, Barnhart confronted and overthrew Ennis in the election of 1952: a landmark standoff between old Texas, with its culture of cowboy bravery and violence, and urban Texas, with its lawyers, oil institutions, and a growing Mexican population. The town would never be the same again. The Last Sheriff of Texas is a riveting narrative about the postwar American landscape, an era grappling with the same issues we continue to face today. Debate over excessive force in law enforcement, Anglo-Mexican relations, racism, gun control, the influence of the media, urban-rural conflict, the power of the oil industry, mistrust of politicians and the political process--all have surprising historical precedence in the story of Vail Ennis and Johnny Barnhart.

    I believe that people should be able to call themselves whatever they wish, and scholars should respect and acknowledge their change of terminology. I went on record early on in convincing other anthropologists to shift away from use of the word berdache and in favor of using Two-Spirit. Nevertheless, because this book continues to be sold with the use of berdache, many people have assumed that I am resisting the newer term. Nothing could be further from the truth. Unless continued sales of this book will justify the publication of a third revised edition in the future, it is not possible to rewrite what is already printed, Therefore, I urge readers of this book, as well as activists who are working to gain more respect for gender variance, mentally to substitute the term "Two-Spirit" in the place of "berdache" when reading this text. -- Walter L. Williams, Los Angeles, 2006

    Sarah McBride is on a mission to fight for transgender rights around the world. But before she was a prominent activist, and before she became the first transgender person to speak at the Democratic National Convention in 2016, she was a teenager struggling with her identity. With emotional depth and unparalleled honesty, Sarah shares her personal struggle with gender identity, coming out to her supportive but distraught parents, and finding her way as a woman. She inspires readers with her barrier-breaking political journey that took her, in just four years, from a frightened, closeted college student to one of the nation's most prominent transgender activists walking the halls of the White House, passing laws, and addressing the country in the midst of a heated presidential election. She also details the heartbreaking romance with her first love and future husband Andy, a trans man and activist, who passed away from cancer in 2014 just days after they were married. Sarah's story of identity, love, and tragic loss serves as a powerful entry point for readers who want to gain a deeper understanding of gender identity and what it means to be openly transgender. From issues like bathroom access to healthcare, identification and schools, Sarah weaves the important political milestones, cultural and political debates, and historical context into a personal journey that will open hearts and change minds. Tomorrow Will Be Different highlights Sarah’s work as an activist and the key issues at the forefront of the fight for trans equality, providing a call-to-arms and empowering look at the road ahead. The fight for equality and freedom has only just begun. “We must never be a country that says there’s only one way to love, only one way to look, and only one way to live.” –Sarah McBride

    Throughout Europe and America, artists and intellectuals banded together to portray women as static and unindividuated beings who functioned solely in a sexual and reproductive capacity, thus formulating many of the anti-feminine platitudes that today still constrain women's potential. Bram Dijkstra's Idols of Perversity explores the nature and development of turn-of-the-century misogyny in the works of hundreds of writers, artists, and scientists, including Zola, Strindberg, Wedekind, Henry James, Rossetti, Renoir, Moreau, Klimt, Darwin, and Spencer. Dijkstra demonstrates that the most prejudicial aspects of Evolutionary Theory helped to justify this wave of anti-feminine sentiment. The theory claimed that the female of the species could not participate in the great evolutionary process that would guide the intellectual male to his ultimate, predestined role as a disembodied spiritual essence. Darwinists argued that women hindered this process by their willingness to lure men back to a sham paradise of erotic materialism. To protect the male's continued evolution, artists and intellectuals produced a flood of pseudo-scientific tracts, novels, and paintings which warned the world's males of the evils lying beneath the surface elegance of woman's tempting skin. Reproducing hundreds of pictures from the period and including in-depth discussions of such key works as Dracula and Venus in Furs, this fascinating book not only exposes the crucial links between misogyny then and now, but also connects it to the racism and anti-semitism that led to catastrophic genocidal delusions in the first half of the twentieth century. Crossing the conventional boundaries of art history, sociology, the history of scientific theory, and literary analysis, Dijkstra unveils a startling view of a grim and largely one-sided war on women still being fought today.

    From Mongolian princesses to Chinese pirates, Native American ballerinas to Egyptian scientists, Japanese novelists to British Prime Ministers, History vs Women will reframe the history that you thought you knew.Featuring beautiful full-color illustrations of each woman and a bold graphic design, this standout nonfiction title is the perfect read for teens (or adults!) who want the true stories of phenomenal women from around the world and insight into how their lives and accomplishments impacted both their societies and our own.

    In Black Sexual Politics, one of America's most influential writers on race and gender explores how images of Black sexuality have been used to maintain the color line and how they threaten to spread a new brand of racism around the world today.

    Now she has written down her explanations for all to read in Transgender Explained For Those Who Are Not. Organized by topic into short, easy-to-read chapters, Transgender Explained is perfect for parents, relatives, colleagues, friends, allies and even journalists who want to quickly get up to speed on what it means to be transgender.

    From the nineteenth-century spinsters, of New England to the Bowery girls of New York City, from the 1920s flappers to the 1940s working women of the war years and the career girls of the 1950s and 1960s, single women have fought to find and feel comfortable in that room of their own. One need only look at Bridget Jones and the Sex and the City gang to see that single women still maintain an uneasy relationship with the rest of society -- and yet they radiate an aura of glamour and mystery in popular culture.As witty as it is well researched, as thoughtful as it is lively, Bachelor Girl is a must-read for women everywhere.

    Since its initial publication in 1983, it has become an essential text on Black women's lives and writings. This edition features an updated lists of contributor biographies and an all-new preface that provides a fresh assessment of how Black women's lives have changed- or not- since the book was first published.Includes:For a godchild, Regina, on the occasion of her first love by Toi DerricotteThe damned by Toi DerricotteHester's song by Toi DerricotteThe sisters by Alexis De VeauxDebra by Michelle T. ClintonIf I could write this in fire, I would write this in fire by Michelle CliffThe blood - yes, the blood: a conversation by Cenen and Barbara SmithSomething Latino was up with us by Spring ReddI used to think by Chirlane McCrayThe black back-ups by Kate RushinHome by Barbara SmithUnder the days: the buried life and poetry of Angelina Weld Grimké by Akasha (Gloria) HullThe black lesbian in American literature: an overview by Ann Allen ShockleyArtists without art form by Renita WeemsI've been thinking of Diana Sands by Patricia JonesA cultural legacy denied and discovered : black lesbians in fiction by women by Jewelle L. GomezWhat it is I think she's doing anyhow: a reading of Toni Cade Bambara's The salt eaters by Akasha (Gloria) HullTar beach by Audre LordeBefore I dress and soar again by Donna AllegraLeRoy's birthday by Raymina Y. MaysThe wedding by Beverly SmithMaria de las Rosas by Becky BirthaMiss Esther's land by Barbara A. BanksThe failure to transform: homophobia in the black community by Cheryl ClarkeWhere will you be? by Pat ParkerAmong the things that use to be by Willie M. ColemanFrom sea to shining sea by June JordanWomen of summer by Cheryl ClarkeThe tired poem: last letter from a typical unemployed black professional woman by Kate RushinShoes are made for walking by Shirley O. SteeleBilly de Lye by Deidre McCallaThe Combahee River Collective statement by Combahee River CollectiveBlack macho and black feminism by Linda C. PowellBlack lesbianbyfeminist organizing: a conversation by Tania Abdulahad ... [et al.]For strong women by Michelle T. ClintonThe black goddess by Kate RushinWomen's spirituality: a household act by Luisah TeishOnly justice can stop a curse by Alice WalkerCoalition politics: turning the century by Bernice Johnson Reagon

    Unfurling and unrelenting in its delivery, Candrilli has painted “the mountain” in excruciating detail. They show readers a world of Borax cured bear hides and canned peaches, of urine-filled Gatorade bottles and the syringe and all the syringe may carry. They show a violent world and its many personas. What Runs Over, too, is a story of rural queerness, of a transgender boy almost lost to the forest. The miracle of What Runs Over is that Candrilli has lived to write it at all."When Roethke said 'energy is the soul of poetry,' he might have been anticipating a book like What Runs Over, which is so full of energy it practically vibrates in your hand. Here, Candrilli’s speaker sticks their tongue 'into the heads / of venus fly traps just to feel the bite,' then later, burns holy books in the backyard and rolls around in the ashes until they become 'a painted god.' This is the verve of an urgent new poetic voice announcing itself to the world. As Candrilli writes: 'This is what I look like / when I’m trying to save myself.'"-Kaveh Akbar

    She has slept with most of her male friends. Most of her male friends have slept with most of her female friends. Sexual promiscuity is the norm. But up until a few years ago, she still envisioned her sexual experience "eventually reaching a terminus, like a monorail gliding to a stop at Epcot Center." Like many people, she imagined herself disembarking, finding herself face-to-face with another human being, "and there we would remain in our permanent station in life: the future."But, as we all know, things are more complicated than that. Love is rare and frequently unreciprocated. Sexual acquisitiveness is risky and can be hurtful. And generalizing about what women want or don't want or should want or should do seems to lead nowhere. Don't our temperaments, our hang-ups, and our histories define our lives as much as our gender?In Future Sex, Witt captures the experiences of going to bars alone, dating online, and hooking up with strangers. From her home in San Francisco, she decides to say yes to everything and to find her own path. She observes the subcultures she encounters with a wry sense of humor, capturing them in all of their strangeness, ridiculousness, and beauty. The result is an open-minded, honest account of the contemporary pursuit of connection and pleasure, and an inspiring new model of female sexuality--open, forgiving, and unafraid.

     It's you I love, perfect man, Greek God, my own; but I know you'll go, betray me, strayfrom home.So better by far for me if you were stone.—from "Medusa"Stunningly original and haunting, the voices of Mrs. Midas, Queen Kong, and Frau Freud, to say nothing of the Devil's Wife herself, startle us with their wit, imagination, and incisiveness in this collection of poems written from the perspectives of the wives, sisters, or girlfriends of famous—and infamous—male personages. Carol Ann Duffy is a master at drawing on myth and history, then subverting them in a vivid and surprising way to create poems that have the pull of the past and the crack of the contemporary.

    The words and images that have come to define many young women's lives have long been overlooked and under appreciated. A Girl's Guide to Taking Over the World exists because these voices have refused to be silenced.