In the first biography of Kennedy, Sherie M. Randolph traces the life and political influence of this strikingly bold and controversial radical activist. Rather than simply reacting to the predominantly white feminist movement, Kennedy brought the lessons of Black Power to white feminism and built bridges in the struggles against racism and sexism. Randolph narrates Kennedy’s progressive upbringing, her pathbreaking graduation from Columbia Law School, and her long career as a media-savvy activist, showing how Kennedy rose to founding roles in organizations such as the National Black Feminist Organization and the National Organization for Women, allying herself with both white and black activists such as Adam Clayton Powell, H. Rap Brown, Betty Friedan, and Shirley Chisholm.Making use of an extensive and previously uncollected archive, Randolph demonstrates profound connections within the histories of the new left, civil rights, Black Power, and feminism, showing that black feminism was pivotal in shaping postwar U.S. liberation movements.

    The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs. The argument that this book presents is that narrative and visual representations of death can be read as symptoms of our culture and because the feminine body is culturally constructed as the superlative site of "other" and "not me," culture uses art to dream the deaths of beautiful women.

    of Maryland School of Medicine), offers case histories of the health problems of a dozen long-dead famous figures diagnosed from modern medical perspectives. Illustrations depict patients including the odd-looking Pharaoh Akhenaten, C

    Dorothy Sheridan has plundered its astonishingly rich archives to put together this anthology of women's experience in the Second World War. What was this experience? How far did it go to liberate women? Was it the opportunity that so many expected or was it simply six years of deprivation, hard work and pain?WARTIME WOMEN allows us to explore these questions through the writings of women living through the war years. Dorothy Sheridan has chosen extracts from the whole range of Mass-Observation material including research reports, letters, dairies and detailed questionnaires. The range of contributors is enormous from a fish and chip shop worker in Birmingham to Irish immigrant munitions factory workers, young women welders in Yorkshire and a seventeen-year-old schoolgirl in Essex.'My horror of all this war business is qualified by an eagerness to be a unit of it. I feel as if I have been waiting for this all my life and I have just realised it' A young woman writing in her diary in September, 1939.

    She is the girl with the blue tattoo.The story behind the distinctive tattoo is the stuff of legends. Some believed it was placed on her face during her captivity, following the brutal murders of her family members and the kidnapping of her and her sister. Others believe it was placed on her after her return.Rumors swelled. Her tattoo became a symbol of Native barbarianism and the triumph of American goodness, but like many stories of that era, the truth is far more complicated.This short book details the murders, her captivity, the aftermath, and her baffling return to her captors. Unravel the mystery of the woman who would become famous for all the wrong reasons and discover what her life story says about cultural identity, the power of resiliency, and what happens when fact and fiction bend and twist to muddy the waters.Read on to find out the truth!

    Wade In this deeply moving work, Ann Fessler brings to light the lives of hundreds of thousands of young single American women forced to give up their newborn children in the years following World War II and before Roe v. Wade. The Girls Who Went Away tells a story not of wild and carefree sexual liberation, but rather of a devastating double standard that has had punishing long-term effects on these women and on the children they gave up for adoption. Based on Fessler's groundbreaking interviews, it brings to brilliant life these women's voices and the spirit of the time, allowing each to share her own experience in gripping and intimate detail. Today, when the future of the Roe decision and women's reproductive rights stand squarely at the front of a divisive national debate, Fessler brings to the fore a long-overlooked history of single women in the fifties, sixties, and early seventies. In 2002, Fessler, an adoptee herself, traveled the country interviewing women willing to speak publicly about why they relinquished their children. Researching archival records and the political and social climate of the time, she uncovered a story of three decades of women who, under enormous social and family pressure, were coerced or outright forced to give their babies up for adoption. Fessler deftly describes the impossible position in which these women found themselves: as a sexual revolution heated up in the postwar years, birth control was tightly restricted, and abortion proved prohibitively expensive or life endangering. At the same time, a postwar economic boom brought millions of American families into the middle class, exerting its own pressures to conform to a model of family perfection. Caught in the middle, single pregnant women were shunned by family and friends, evicted from schools, sent away to maternity homes to have their children alone, and often treated with cold contempt by doctors, nurses, and clergy. The majority of the women Fessler interviewed have never spoken of their experiences, and most have been haunted by grief and shame their entire adult lives. A searing and important look into a long-overlooked social history, The Girls Who Went Away is their story.

    Less than a decade older than these teen parents, she was able to blend into the fabric of their lives and make a short documentary film about them. Over the course of the next four years she continued to earn their trust as they shared with her the daily reality of their lives and their experiences growing up in the economically depressed post-industrial landscape of Pittsfield, Massachusetts.

    There is a need at the time of Pakistan's golden jubilee for it to be taken seriously in its own right as a country of 130 million people. It is in reality a complex plural society which although greatly shaped by the colonial inheritance and circumstances of its birth is also experiencing rapid change. The author's approach breaks down stereotypes and assists in answering the vexed question of why democracy has succeeded in India, while Pakistan has been subject to long periods of authoritarianism during its five decades of existence.

    Here too is a 1976 piece from the New York Times magazine on "Why I Write"; a piece about short stories from New West in 1978; and from The New Yorker, a piece on Hemingway from 1998, and on Martha Stewart from 2000. Each one is classic Didion: incisive, bemused, and stunningly prescient.

    Focusing on the years between 1910 and 1940, when Chicago's black population quintupled, Chatelain describes how Chicago's black social scientists, urban reformers, journalists and activists formulated a vulnerable image of urban black girlhood that needed protecting. She argues that the construction and meaning of black girlhood shifted in response to major economic, social, and cultural changes and crises, and that it reflected parents' and community leaders' anxieties about urbanization and its meaning for racial progress. Girls shouldered much of the burden of black aspiration, as adults often scrutinized their choices and behavior, and their well-being symbolized the community's moral health. Black Chicagoans were not alone in thinking about the Great Migration, as girls expressed their views as well. Referencing girls' letters and interviews, Chatelain uses their powerful stories of hope, anticipation and disappointment to highlight their feelings and thoughts, and in so doing, she helps restore the experiences of an understudied population to the Great Migration's complex narrative.

    Eschewing the Great Race Man paradigm so prominent in contemporary discourse, Brittney C. Cooper looks at the far-reaching intellectual achievements of female thinkers and activists like Anna Julia Cooper, Mary Church Terrell, Fannie Barrier Williams, Pauli Murray, and Toni Cade Bambara. Cooper delves into the processes that transformed these women and others into racial leadership figures, including long-overdue discussions of their theoretical output and personal experiences. As Cooper shows, their body of work critically reshaped our understandings of race and gender discourse. It also confronted entrenched ideas of how--and who--produced racial knowledge.

    . . · Alice Ball, the chemist who developed an effective treatment for leprosy—only to have the credit taken by a man?· Mary Sherman Morgan, the rocket scientist whose liquid fuel compounds blasted the first U.S. satellite into orbit?· Huang Daopo, the inventor whose weaving technology revolutionized textile production in China—centuries before the cotton gin? Smart women have always been able to achieve amazing things, even when the odds were stacked against them. In Wonder Women, author Sam Maggs tells the stories of the brilliant, brainy, and totally rad women in history who broke barriers as scientists, engineers, mathematicians, adventurers, and inventors. Also included are interviews with real-life women in STEM careers, an extensive bibliography, and a guide to women-centric science and technology organizations—all to show the many ways the geeky girls of today can help build the future.

    Embarrassment, at first, to the exclusion of all other feelings. But embarrassment curled at the edges with a weariness …I got a joke in. “So – we'd better get cooking the meth,” I said to the Poet.In July 2014, Jenny Diski was diagnosed with inoperable lung cancer and given “two or three years” to live. She didn't know how to react. All responses felt scripted, as if she were acting out her part. To find the response that felt wholly her own, she had to face the cliches and try to write about it. And there was another story to write, one she had not yet told: that of being taken in at age fifteen by the author Doris Lessing, and the subsequent fifty years of their complex relationship.In the pages of the London Review of Books, to which Diski contributed for the last quarter century, she unraveled her history with Lessing: the fairy-tale rescue as a teenager, the difficulties of being absorbed into an unfamiliar family, the modeling of a literary life. Swooping from one memory to the next-alighting on the hysterical battlefield of her parental home, her expulsion from school, the drug-taking twenty-something in and out of psychiatric hospitals -- and telling all through the lens of living with terminal cancer, through what she knows will be her final months, Diski paints a portrait of two extraordinary writers -- Lessing and herself.From a wholly original thinker comes a book like no other: a cerebral, witty, dazzlingly candid masterpiece about an uneasy relationship; about memory and writing, ingratitude and anger; about living with illness and facing death.

    After his death -- a calamity that claimed her favorite person--she returned to that beloved novel as a way of wrestling with his memory and understanding her own grief.Smyth's story moves between the New England of her childhood and Woolf's Cornish shores and Bloomsbury squares, exploring universal questions about family, loss, and homecoming. Through her inventive, highly personal reading of To the Lighthouse, and her artful adaptation of its groundbreaking structure, Smyth guides us toward a new vision of Woolf's most demanding and rewarding novel--and crafts an elegant reminder of literature's ability to clarify and console.Braiding memoir, literary criticism, and biography, All the Lives We Ever Lived is a wholly original debut: a love letter from a daughter to her father, and from a reader to her most cherished author.

    Contrasting the views of medical science with those of ordinary women from diverse social and economic backgrounds, anthropologist Emily Martin presents unique fieldwork on American culture and uncovers the metaphors of economy and alienation that pervade women's imaging of themselves and their bodies. A new preface examines some of the latest medical ideas about women's reproductive cycles.