Focusing on queer female diasporic subjectivity, Gopinath develops a theory of diaspora apart from the logic of blood, authenticity, and patrilineal descent that she argues invariably forms the core of conventional formulations. She examines South Asian diasporic literature, film, and music in order to suggest alternative ways of conceptualizing community and collectivity across disparate geographic locations. Her agile readings challenge nationalist ideologies by bringing to light that which has been rendered illegible or impossible within diaspora: the impure, inauthentic, and nonreproductive.Gopinath juxtaposes diverse texts to indicate the range of oppositional practices, subjectivities, and visions of collectivity that fall outside not only mainstream narratives of diaspora, colonialism, and nationalism but also most projects of liberal feminism and gay and lesbian politics and theory. She considers British Asian music of the 1990s alongside alternative media and cultural practices. Among the fictional works she discusses are V. S. Naipaul’s classic novel A House for Mr. Biswas, Ismat Chughtai’s short story “The Quilt,” Monica Ali’s Brick Lane, Shyam Selvadurai’s Funny Boy, and Shani Mootoo’s Cereus Blooms at Night. Analyzing films including Deepa Mehta’s controversial Fire and Mira Nair’s Monsoon Wedding, she pays particular attention to how South Asian diasporic feminist filmmakers have reworked Bollywood’s strategies of queer representation and to what is lost or gained in this process of translation. Gopinath’s readings are dazzling, and her theoretical framework transformative and far-reaching.

    In fact, it was a time of great fear, especially for women, and especially the fear of not fitting in. As a woman, you were odd if you graduated from college without being married; if you were married you were odd if you didn't immediately have children; if you had children you were odd if you also wanted to work. Before the feminist movement, women were treated as second-class citizens whose roles were utterly restricted, and The Fifties: A Women's Oral History fully explores those roles, the women who lived them, and the women who broke the molds.

    Congressman Todd Akin’s “legitimate” gaffe. The alleged rape crew of Steubenville, Ohio. Sexual violence has been so prominent in recent years that the feminist term “rape culture” has finally entered the mainstream. But what, exactly, is it? And how do we change it? In Asking for It, Kate Harding answers those questions in the same blunt, bullshit-free voice that’s made her a powerhouse feminist blogger. Combining in-depth research with practical knowledge, Asking for It makes the case that twenty-first century America—where it’s estimated that out of every 100 rapes only 5 result in felony convictions—supports rapists more effectively than victims. Harding offers ideas and suggestions for addressing how we as a culture can take rape much more seriously without compromising the rights of the accused.

    Everything known about the facts of William Shakespeare's life seems incompatible with the extraordinary genius of his writing. How could a man who left school at the age of 13, and apparently never travelled abroad have authored the incomparable Sonnets or so intricately described Renaissance Venice? Shakespeare 'candidates' abound, among them Sir Francis Bacon, The Earl of Oxford, even Queen Elizabeth I herself, but none have stood up to serious scrutiny. Until now....This remarkable, intriguing, and provocative book offers a completely plausible new candidate; Sir Henry Neville.

    In Confessions of a Subprime Lender: An Insider's Tale of Greed, Fraud, and Ignorance, he reveals the truth about how the subprime lending business spiraled out of control, pushed home prices to unsustainable levels, and turned unqualified applicants into qualified borrowers through creative financing. Learn about the ways the mortgage industry can be fixed with his twenty suggestions for critical change.

    When you learn about women in history, it's hard not to wonder: why do they all seem so prim and proper? The truth is, you're probably not being told the whole story. Also, (mostly male) historians keep leaving out or glossing over some of the most badass women who ever walked the surface of this planet. Fake news! But fret not. Former Buzzfeed senior writer and Washington Post pop culture host Hannah Jewell has got you covered. In 100 Nasty Women of History, Hannah will spill the tea on:-the women with impressive kill counts-the women who wrote dangerous things-the women who fought empires and racists-the women who knew how to have a good-ass time-the women who punched Nazis (metaphorically but also not)And that's just half of the women in this book. That's pretty metal.So, if you think that Nasty Women are a new thing, think again. They've always been around - you just haven't always heard of them. Take these stories and tell them to your friends. Write them on a wall. Sneakily tell them to your niece (who's old enough to hear the bad words, of course). Post them to your local MP (especially if it's a man). Make your friends dress up as Nasty Women for Halloween. These are the 100 Nasty Women of History who gave zero f*cks whatsoever. These are the 100 Nasty Women of History who made a difference. These are the 100 Nasty Women of History whom everyone needs to know about, right now.

    Transgender blogger Mia Violet reflects on her life and how at 26 she came to finally realise she was 'trans enough' to be transgender, after years of knowing she was different but without the language to understand why.From bullying, heartache and a botched coming out attempt, through to counselling, Gender Identity Clinics and acceptance, Mia confronts the ins and outs of transitioning, using her charged personal narrative to explore the most pressing questions in the transgender debate and confront what the media has gotten wrong. An essential read for anyone who has had to fight to be themselves.

    But one rogue researcher looked at the data and decided everyone was wrong. Franz Boas was the very image of a mad scientist: a wild-haired immigrant with a thick German accent. By the 1920s he was also the foundational thinker and public face of a new school of thought at Columbia University called cultural anthropology. He proposed that cultures did not exist on a continuum from primitive to advanced. Instead, every society solves the same basic problems--from childrearing to how to live well--with its own set of rules, beliefs, and taboos.Boas's students were some of the century's intellectual stars: Margaret Mead, the outspoken field researcher whose Coming of Age in Samoa is one of the most widely read works of social science of all time; Ruth Benedict, the great love of Mead's life, whose research shaped post-Second World War Japan; Ella Deloria, the Dakota Sioux activist who preserved the traditions of Native Americans of the Great Plains; and Zora Neale Hurston, whose studies under Boas fed directly into her now-classic novel, Their Eyes Were Watching God. Together, they mapped vanishing civilizations from the Arctic to the South Pacific and overturned the relationship between biology and behavior. Their work reshaped how we think of women and men, normalcy and deviance, and re-created our place in a world of many cultures and value systems. Gods of the Upper Air is a page-turning narrative of radical ideas and adventurous lives, a history rich in scandal, romance, and rivalry, and a genesis story of the fluid conceptions of identity that define our present moment.

    But radio came roaring back with a whole new concept. The war was over, the baby boom was on, the country was in clover, and a bold new beat was giving the syrupy songs of yesteryear a run for their money. Add transistors, 45 rpm records, and a young man named Elvis to the mix, and the result was the perfect storm that rocked, rolled, and reinvented radio.Visionary entrepreneurs like Todd Storz pioneered the Top 40 concept, which united a generation. But it took trendsetting “disc jockeys” like Alan Freed, Murray the K, Wolfman Jack, Cousin Brucie, and their fast-talking, too-cool-for-school counterparts across the land to turn time, temperature, and the same irresistible hit tunes played again and again into the ubiquitous sound track of the fifties and sixties. The Top 40 sound broke through racial barriers, galvanized coming-of-age kids (and scandalized their perplexed parents), and provided the insistent, inescapable backbeat for times that were a-changin’.Along with rock-and-roll music came the attitude that would literally change the “voice” of radio forever, via the likes of raconteur Jean Shepherd, who captivated his loyal following of “Night People”; the inimitable Bob Fass, whose groundbreaking Radio Unnameable inaugurated the anything-goes free-form style that would come to define the alternative frontier of FM; and a small-time Top 40 deejay who would ultimately find national fame as a political talk-show host named Rush Limbaugh.From Hunter Hancock, who pushed beyond the limits of 1950s racial segregation with rhythm and blues and hepcat patter, to Howard Stern, who blew through all the limits with a blue streak of outrageous on-air antics; from the heyday of summer songs that united carefree listeners to the latter days of political talk that divides contentious callers; from the haze of classic rock to the latest craze in hip-hop, Something in the Air chronicles the extraordinary evolution of the unique and timeless medium that captured our hearts and minds, shook up our souls, tuned in–and turned on–our consciousness, and went from being written off to rewriting the rules of pop culture.

    He then jets forward to the nineteenth century, where systems we can easily recognize as modern bureaucracies come into being. In some areas of life—like with the modern postal systems of Germany and France—these bureaucracies have brought tremendous efficiencies to modern life. But Graeber argues that there is a much darker side to modern bureaucracy that is rarely ever discussed. Indeed, in our own “utopia of rules,” freedom and technological innovation are often the casualties of systems that we only faintly understand.Provocative and timely, the book is a powerful look and history of bureaucracy over the ages and its power in shaping the world of ideas.

    Important elements of early Japanese history persist in present-day Japan more tenaciously than is sometimes realized. Hane traces the key developments of Japanese history in the premodern period, including the establishment of the imperial dynasty, early influences from China and Korea, the rise of the samurai class and the establishment of feudalism, the culture and society of the long Tokugawa period, the rise of Confucianism and Shinto nationalism, and, finally, the end of Tokugawa rule.Although the book is structured around major political developments, Hane also carefully integrates the social, economic, cultural, and intellectual aspects of Japanese history. His revisions incorporate important recent scholarship on this formative period of Japan's history.

    What must we do to work out who we are, and where we belong? How do we find the space to grow, unite and confront the systems of oppression? This conflict can be found in the fissures between the body, gender and identity. Too often, the glitch is considered a mistake, a faulty overlaying, a bug in the system; in contrast, Russell compels us to find liberation here. In a radical call to arms Legacy Russell argues that we need to embrace the glitch in order to break down the binaries and limitations that define gender, race, sexuality.Glitch Feminism is a vital new chapter in cyberfeminism, one that explores the relationship between gender, technology and identity. In an urgent manifesto, Russell reveals the many ways that the Glitch performs and transforms: how it refuses, throws shade, ghosts, errs, encrypt, mobilizes and survives. Developing the argument through memoir, art and critical theory, Russell also looks at the work of contemporary artists who travel through the glitch in their work. Timely and provocative, Glitch Feminism shows how the error can be a revolution.

    Though one of the most flamboyant free spirits of the late eighteenth century, Mary led a life that was marked by reversals of fortune. After being abandoned by her father, Mary was married, at age fifteen, to Thomas Robinson, whose dissipation landed the couple and their baby in debtors’ prison. On her release, Mary rose to become one of the London theater’s most alluring actresses, famously playing Perdita in The Winter’s Tale for a rapt audience that included the Prince of Wales, who fell madly in love with her. Never one to pass up an opportunity, she later used his ardent love letters for blackmail. After being struck down by paralysis, apparently following a miscarriage, she remade herself yet again, this time as a popular writer who was also admired by the leading intellectuals of the day.Filled with triumph and despair and grand accomplishments, the amazing life of “Perdita” is marvelously captured in this stunning biography.

    Using journals, unpublished manuscripts, songs, news accounts, novels, medical literature, and numerous interviews, she relates an often surprising narrative of lesbian life. "A key work...the point of reference from which all subsequent studies of 20th-century lesbian life in the United States will begin."—San Francisco Examiner.

    Experienced ethical sluts Dossie Easton and Janet W. Hardy dispel myths and cover all the skills necessary to maintain a successful and responsible polyamorous lifestyle--from self-reflection and honest communication to practicing safe sex and raising a family. Individuals and their partners will learn how to discuss and honor boundaries, resolve conflicts, and to define relationships on their own terms. "I couldn't stop reading it, and I for one identify as an ethical slut. This is a book for anyone interested in creating more pleasure in their lives . . . a complete guide to improving any style of relating, from going steady to having an extended family of sexual friends." --Betty Dodson, PhD, author of Sex for One