She moved from New York to San Francisco, where she landed at a big-data startup in the heart of the Silicon Valley bubble: a world of surreal extravagance, dubious success, and fresh-faced entrepreneurs hell-bent on domination, glory, and, of course, progress.Anna arrived amidst a massive cultural shift, as the tech industry rapidly transformed into a locus of wealth and power rivaling Wall Street. But amid the company ski vacations and in-office speakeasies, boyish camaraderie and ride-or-die corporate fealty, a new Silicon Valley began to emerge: one in far over its head, one that enriched itself at the expense of the idyllic future it claimed to be building.Part coming-age-story, part portrait of an already-bygone era, Anna Wiener’s memoir is a rare first-person glimpse into high-flying, reckless startup culture at a time of unchecked ambition, unregulated surveillance, wild fortune, and accelerating political power. With wit, candor, and heart, Anna deftly charts the tech industry’s shift from self-appointed world savior to democracy-endangering liability, alongside a personal narrative of aspiration, ambivalence, and disillusionment.Unsparing and incisive, Uncanny Valley is a cautionary tale, and a revelatory interrogation of a world reckoning with consequences its unwitting designers are only beginning to understand.

    Since women earned the right to vote a little under one hundred years ago, our progress hasn't been the Olympic sprint toward gender equality first wave feminists hoped for, but more of a slow, elderly mall walk (with frequent stops to Cinnabon) over the four hundred million hurdles we still face. Some of these obstacles are obvious-unequal pay, under-representation in government, reproductive restrictions, lack of floor-length mirrors in hotel rooms. But a lot of them are harder to identify. They're the white noise of oppression that we've accepted as lady business as usual, and the patriarchy wants to keep it that way. Erin Gibson has a singular goal-to create a utopian future where women are recognized as humans. In Feminasty -- titled after her nickname on the hit podcast "Throwing Shade" -- she has written a collection of make-you-laugh-until-you-cry essays that expose the hidden rules that make life as a woman unnecessarily hard and deconstructs them in a way that's bold, provocative and hilarious. Whether it's shaming women for having their periods, allowing them into STEM fields but never treating them like they truly belong, or dictating strict rules for how they should dress in every situation, Erin breaks down the organized chaos of old fashioned sexism, intentional and otherwise, that systemically keeps women down.

     Rachel Bloom has felt abnormal and out of place her whole life. In this exploration of what she thinks makes her "different," she's come to realize that a lot of people also feel this way; even people who she otherwise thought were "normal."In a collection of laugh-out-loud funny essays, all told in the unique voice (sometimes singing voice) that made her a star; Rachel writes about everything from her love of Disney, OCD and depression, weirdness, and female friendships to the story of how she didn't poop in the toilet until she was four years old; Rachel's pieces are hilarious, smart, and infinitely relatable (except for the pooping thing).

    The Bitch In the House.Women today have more choices than at any time in history, yet many smart, ambitious, contemporary women are finding themselves angry, dissatisfied, stressed out. Why are they dissatisfied? And what do they really want? These questions form the premise of this passionate, provocative, funny, searingly honest collection of original essays in which twenty-six women writers—ranging in age from twenty-four to sixty-five, single and childless or married with children or four times divorced—invite readers into their lives, minds, and bedrooms to talk about the choices they’ve made, what’s working, and what’s not.With wit and humor, in prose as poetic and powerful as it is blunt and dead-on, these intriguing women offer details of their lives that they’ve never publicly revealed before, candidly sounding off on:• The difficult decisions and compromises of living with lovers, marrying, staying single and having children• The perpetual tug of war between love and work, family and career• The struggle to simultaneously care for ailing parents and a young family• The myth of co-parenting• Dealing with helpless mates and needy toddlers• The constrictions of traditional women’s roles as well as the cliches of feminism• Anger at laid-back live-in lovers content to live off a hardworking woman’s checkbook• Anger at being criticized for one’s weight• Anger directed at their mothers, right and wrong• And–well–more anger...“This book was born out of anger,” begins Cathi Hanauer, but the end result is an intimate sharing of experience that will move, amuse, and enlighten. The Bitch in the House is a perfect companion for your students as they plot a course through the many voices of modern feminism. This is the sound of the collective voice of successful women today-in all their anger, grace, and glory.

    There are thousands who have yet to discover this extraordinary memoir of an Irish woman who has stepped away from the traditional roles to define herself and find contentment. They will make this paperback a long-selling classic.

    Sophia Amoruso spent her teens hitchhiking, committing petty theft, and scrounging in dumpsters for leftover bagels. By age twenty-two she had dropped out of school, and was broke, directionless, and checking IDs in the lobby of an art school— a job she’d taken for the health insurance. It was in that lobby that Sophia decided to start selling vintage clothes on eBay. Flash forward ten years to today, and she’s the founder and executive chairman of Nasty Gal, a $250-million-plus fashion retailer with more than four hundred employees. Sophia was never a typical CEO, or a typical anything, and she’s written #GIRLBOSS for other girls like her: outsiders (and insiders) seeking a unique path to success, even when that path is windy as all hell and lined with naysayers. #GIRLBOSS proves that being successful isn’t about where you went to college or how popular you were in high school. It’s about trusting your instincts and following your gut; knowing which rules to follow and which to break; when to button up and when to let your freak flag fly.' to 'In the New York Times bestseller that the Washington Post called "Lean In for misfits," Sophia Amoruso shares how she went from dumpster diving to founding one of the fastest-growing retailers in the world Sophia Amoruso spent her teens hitchhiking, committing petty theft, and scrounging in dumpsters for leftover bagels. By age twenty-two she had dropped out of school, and was broke, directionless, and checking IDs in the lobby of an art school—a job she’d taken for the health insurance. It was in that lobby that Sophia decided to start selling vintage clothes on eBay. Flash forward ten years to today, and she’s the founder and executive chairman of Nasty Gal, a $250-million-plus fashion retailer with more than four hundred employees. Sophia was never a typical CEO, or a typical anything, and she’s written #GIRLBOSS for other girls like her: outsiders (and insiders) seeking a unique path to success, even when that path is windy as all hell and lined with naysayers. #GIRLBOSS proves that being successful isn’t about where you went to college or how popular you were in high school. It’s about trusting your instincts and following your gut; knowing which rules to follow and which to break; when to button up and when to let your freak flag fly.'

    An honest and moving story of youth and friendship, Smith brings the same unique, lyrical quality to Just Kids as she has to the rest of her formidable body of work--from her influential 1975 album Horses to her visual art and poetry.

    At its center is a romance: the story of the author's relationship with the artist Harry Dodge. This story, which includes Nelson's account of falling in love with Dodge, who is fluidly gendered, as well as her journey to and through a pregnancy, offers a firsthand account of the complexities and joys of (queer) family-making.Writing in the spirit of public intellectuals such as Susan Sontag and Roland Barthes, Nelson binds her personal experience to a rigorous exploration of what iconic theorists have said about sexuality, gender, and the vexed institutions of marriage and child-rearing. Nelson's insistence on radical individual freedom and the value of caretaking becomes the rallying cry of this thoughtful, unabashed, uncompromising book.

    Increasingly, though, the disconnect between the chaos of world events and the response at home took on pressing urgency for her. Seeking to understand the Muslim world that had been reduced to scaremongering headlines, she moved to Istanbul.Hansen arrived in Istanbul with romantic ideas about a mythical city perched between East and West, and with a naïve sense of the Islamic world beyond. Over the course of her many years of living in Turkey and traveling in Greece, Egypt, Afghanistan, and Iran, she learned a great deal about these countries and their cultures and histories and politics. But the greatest, most unsettling surprise would be what she learned about her own country—and herself, an American abroad in the era of American decline. It would take leaving her home to discover what she came to think of as the two Americas: the country and its people, and the experience of American power around the world. She came to understand that anti-Americanism is not a violent pathology. It is, Hansen writes, “a broken heart . . . A one-hundred-year-old relationship.”Blending memoir, journalism, and history, and deeply attuned to the voices of those she met on her travels, Notes on a Foreign Country is a moving reflection on America’s place in the world. It is a powerful journey of self-discovery and revelation—a profound reckoning with what it means to be American in a moment of grave national and global turmoil.

    Her hilarious and deeply relatable look at the challenges of womanhood in a changing world became a cultural touchstone for women everywhere. Now Guisewite returns with her signature wit and warmth in this debut essay collection about another time of big transition, when everything starts changing and disappearing without permission: aging parents, aging children, aging self stuck in the middle.With her uniquely wry and funny admissions and insights, Guisewite unearths the humor and horror of everything from the mundane (trying to introduce her parents to TiVo and facing four decades' worth of unorganized photos) to the profound (finding a purpose post-retirement, helping parents downsize their lives, and declaring freedrom from all those things that hold us back). No longer confined to the limits of four comic panels, Guisewite holds out her hand in prose form and becomes a reassuring companion for those on the threshold of "what happens next." Heartfelt and humane and always cathartic, Fifty Things That Aren't My Fault is ideal reading for mothers, daughters, and anyone who is caught somewhere in between.

    Starting with her misspent youth in the bar car of a regional railroad, where at fifteen she told commuters fortunes in exchange for beer, and continuing today as she slings cocktails at a neighborhood joint in Brooklyn, Schaap has learned her way around both sides of a bar and come to realize how powerful the fellowship among regular patrons can be. In Drinking with Men, Schaap shares her unending quest for the perfect local haunt, which takes her from a dive outside Los Angeles to a Dublin pub full of poets, and from small-town New England taverns to a character-filled bar in Manhattans TriBeCa. Drinking alongside artists and expats, ironworkers and soccer fanatics, she finds these places offer a safe haven, a respite, and a place to feel most like herself. In rich, colorful prose, Schaap brings to life these seedy, warm, and wonderful rooms. Drinking with Men is a love letter to the bars, pubs, and taverns that have been Schaaps refuge, and a celebration of the uniquely civilizing source of community that is bar culture at its best.

    Not long after, she also became mute. Her tenacious struggle to overcome these handicaps-with the help of her inspired teacher, Anne Sullivan-is one of the great stories of human courage and dedication. In this classic autobiography, first published in 1903, Miss Keller recounts the first 22 years of her life, including the magical moment at the water pump when, recognizing the connection between the word "water" and the cold liquid flowing over her hand, she realized that objects had names. Subsequent experiences were equally noteworthy: her joy at eventually learning to speak, her friendships with Oliver Wendell Holmes, Edward Everett Hale and other notables, her education at Radcliffe (from which she graduated cum laude), and-underlying all-her extraordinary relationship with Miss Sullivan, who showed a remarkable genius for communicating with her eager and quick-to-learn pupil.

    Born two years after her parents' only son died just hours after his birth, Kat Chow became unusually fixated with death. She worried constantly about her parents dying -- especially her mother. One morning, when Kat was nine, her mother, a vivacious and mischievous woman, casually made a morbid joke: When she eventually dies, she said laughing, she'd like to be stuffed and displayed in Kat's future apartment in order to always watch over her.Four years later when her mother dies unexpectedly from cancer, Kat, her two older sisters, and their father are plunged into a debilitating, lonely grief. With a distinct voice that is wry and heartfelt, Kat weaves together what is part ghost story and part excavation of her family's history of loss spanning three generations and their immigration from China and Hong Kong to America and Cuba. This redemptive coming-of-age story uncovers the uncanny parallels in Kat's lineage, including the strength of sisterhood and the complicated duty of looking after parents, even after death.Seeing Ghosts asks what it means to claim and tell your family's story: Is writing an exorcism or is it its own form of preservation? What do we owe to our families in our grief, and how does it shape us? In order to answer these questions and to understand her family's ghosts, Kat unearths their sorrow and challenges the power structures of race, class, and gender. The result is an extraordinary new contribution to the literature of grief and the American family, and a provocative and transformative meditation on who we become under the specter of loss.

    So begins Spinster, a revelatory and slyly erudite look at the pleasures and possibilities of remaining single. Using her own experiences as a starting point, journalist and cultural critic Kate Bolick invites us into her carefully considered, passionately lived life, weaving together the past and present to examine why­ she - along with over 100 million American women, whose ranks keep growing - remains unmarried. This unprecedented demographic shift, Bolick explains, is the logical outcome of hundreds of years of change that has neither been fully understood, nor appreciated. Spinster introduces a cast of pioneering women from the last century whose genius, tenacity, and flair for drama have emboldened Bolick to fashion her life on her own terms: columnist Neith Boyce, essayist Maeve Brennan, social visionary Charlotte Perkins Gilman, poet Edna St. Vincent Millay, and novelist Edith Wharton. By animating their unconventional ideas and choices, Bolick shows us that contemporary debates about settling down, and having it all, are timeless - the crucible upon which all thoughtful women have tried for centuries to forge a good life. Intellectually substantial and deeply personal, Spinster is both an unreservedly inquisitive memoir and a broader cultural exploration that asks us to acknowledge the opportunities within ourselves to live authentically. Bolick offers us a way back into our own lives - a chance to see those splendid years when we were young and unencumbered, or middle-aged and finally left to our own devices, for what they really are: unbounded and our own to savor.

    Telling the story of her family, growing up in California in the '60s and '70s, her life in visual art, her move to New York City, the men in her life, her marriage, her relationship with her daughter, her music, and her band, Girl in a Band is a rich and beautifully written memoir.Gordon takes us back to the lost New York of the 1980s and '90s that gave rise to Sonic Youth, and the Alternative revolution in popular music. The band helped build a vocabulary of music—paving the way for Nirvana, Hole, Smashing Pumpkins and many other acts. But at its core, Girl in a Band examines the route from girl to woman in uncharted territory, music, art career, what partnership means—and what happens when that identity dissolves.Evocative and edgy, filled with the sights and sounds of a changing world and a transformative life, Girl in a Band is the fascinating chronicle of a remarkable journey and an extraordinary artist.