Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Anzaldua is a rebellious and willful talent who recognizes that life on the border, "life in the shadows," is vital territory for both literature and civilization. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues.

    This has always been the case, no matter how often that certainty has failed. Though no generation believes there’s nothing left to learn, every generation unconsciously assumes that what has already been defined and accepted is (probably) pretty close to how reality will be viewed in perpetuity. And then, of course, time passes. Ideas shift. Opinions invert. What once seemed reasonable eventually becomes absurd, replaced by modern perspectives that feel even more irrefutable and secure—until, of course, they don’t.But What If We’re Wrong? visualizes the contemporary world as it will appear to those who'll perceive it as the distant past. Chuck Klosterman asks questions that are profound in their simplicity: How certain are we about our understanding of gravity? How certain are we about our understanding of time? What will be the defining memory of rock music, five hundred years from today? How seriously should we view the content of our dreams? How seriously should we view the content of television? Are all sports destined for extinction? Is it possible that the greatest artist of our era is currently unknown (or—weirder still—widely known, but entirely disrespected)? Is it possible that we “overrate” democracy? And perhaps most disturbing, is it possible that we’ve reached the end of knowledge?Kinetically slingshotting through a broad spectrum of objective and subjective problems, But What If We’re Wrong? is built on interviews with a variety of creative thinkers—George Saunders, David Byrne, Jonathan Lethem, Kathryn Schulz, Neil deGrasse Tyson, Brian Greene, Junot Díaz, Amanda Petrusich, Ryan Adams, Nick Bostrom, Dan Carlin, and Richard Linklater, among others—interwoven with the type of high-wire humor and nontraditional analysis only Klosterman would dare to attempt. It’s a seemingly impossible achievement: a book about the things we cannot know, explained as if we did. It’s about how we live now, once “now” has become “then.”

    In the year 2018, it seems as if women’s anger has suddenly erupted into the public conversation. But long before Pantsuit Nation, before the Women’s March, and before the #MeToo movement, women’s anger was not only politically catalytic—but politically problematic. The story of female fury and its cultural significance demonstrates the long history of bitter resentment that has enshrouded women’s slow rise to political power in America, as well as the ways that anger is received when it comes from women as opposed to when it comes from men. With eloquence and fervor, Rebecca tracks the history of female anger as political fuel—from suffragettes marching on the White House to office workers vacating their buildings after Clarence Thomas was confirmed to the Supreme Court. Here Traister explores women’s anger at both men and other women; anger between ideological allies and foes; the varied ways anger is perceived based on its owner; as well as the history of caricaturing and delegitimizing female anger; and the way women’s collective fury has become transformative political fuel—as is most certainly occurring today. She deconstructs society’s (and the media’s) condemnation of female emotion (notably, rage) and the impact of their resulting repercussions. Highlighting a double standard perpetuated against women by all sexes, and its disastrous, stultifying effect, Traister’s latest is timely and crucial. It offers a glimpse into the galvanizing force of women’s collective anger, which, when harnessed, can change history.

    Often the labels has nothing to do with sex -- the girls simply do not fit in.  An important account of the lives of these young women, Slut! weaves together powerful oral histories of girls and women who finally overcame their sexual labels with a cogent analysis of the underlying problem of sexual stereotyping.Author Leora Tanenbaum herself was labeled a slut in high school.  The confessional article she wrote for Seventeen about the experience caused a sensation and led her to write this book.

    She goes on to deftly synthesize the work of Freud, Marx, de Beauvoir, and Engels to create a cogent argument for feminist revolution. Identifying women as a caste, she declares that they must seize the means of reproduction for as long as women (and only women) are required to bear and rear children, they will be singled out as inferior. Ultimately she presents feminism as the key radical ideology, the missing link between Marx and Freud, uniting their visions of the political and the personal. In the wake of recent headlines bemoaning women's squandered fertility and the ongoing debate over the appropriate role of genetics in the future of humanity, The Dialectic of Sex is revealed as remarkably relevant to today's society, a testament to Shulamith Firestone's startlingly prescient vision.

    Men from Aristotle to Freud have insisted that women are freakish creatures, capable of immense destruction. Maybe they are. And maybe that’s a good thing.... Sady Doyle, hailed as “smart, funny and fearless” by the Boston Globe, takes readers on a tour of the female dark side, from the biblical Lilith to Dracula’s Lucy Westenra, from the T-Rex in Jurassic Park to the teen witches of The Craft. She illuminates the women who have shaped our nightmares: Serial killer Ed Gein’s “domineering” mother Augusta; exorcism casualty Anneliese Michel, starving herself to death to quell her demons; author Mary Shelley, dreaming her dead child back to life. These monsters embody patriarchal fear of women, and illustrate the violence with which men enforce traditionally feminine roles. They also speak to the primal threat of a woman who takes back her power. In a dark and dangerous world, Dead Blondes and Bad Mothers asks women to look to monsters for the ferocity we all need to survive. “Some people take a scalpel to the heart of media culture; Sady Doyle brings a bone saw, a melon baller, and a machete.”—Andi Zeisler, author of We Were Feminists Once

     Stretching between these figures is a cast of artists, writers, and scientists--mostly women, mostly queer--whose public contribution has risen out of their unclassifiable and often heartbreaking private relationships to change the way we understand, experience, and appreciate the universe. Among them are the astronomer Maria Mitchell, who paved the way for women in science; the sculptor Harriet Hosmer, who did the same in art; the journalist and literary critic Margaret Fuller, who sparked the feminist movement; and the poet Emily Dickinson.Emanating from these lives are larger questions about the measure of a good life and what it means to leave a lasting mark of betterment on an imperfect world: Are achievement and acclaim enough for happiness? Is genius? Is love? Weaving through the narrative is a set of peripheral figures--Ralph Waldo Emerson, Charles Darwin, Elizabeth Barrett Browning, Herman Melville, Frederick Douglass, Nathaniel Hawthorne, and Walt Whitman--and a tapestry of themes spanning music, feminism, the history of science, the rise and decline of religion, and how the intersection of astronomy, poetry, and Transcendentalist philosophy fomented the environmental movement.

    This book investigates not only how feminists understand pornography, but also how feminists do porn—that is, direct, act in, produce, and consume one of the world's most lucrative and growing industries. With original contributions by Susie Bright, Candida Royalle, Betty Dodson, Nina Hartley, Buck Angel, and more, The Feminist Porn Book updates the debates of the porn wars of the 1980s, which sharply divided the women's movement, and identifies pornography as a form of expression and labor in which women and other minorities produce power and pleasure.Tristan Taormino is an award-winning author, columnist, editor, sex educator, and feminist pornographer. She is the author of seven books including The Ultimate Guide to Anal Sex for Women and Opening Up. She runs the adult film production company Smart Ass Productions and is an exclusive director for Vivid Entertainment.Celine Parreñas Shimizu is an associate professor of film and performance studies at the University of California, Santa Barbara, and founding editor of Camera Obscura. She is the author of Straitjacket Sexualities and the 2009 Cultural Studies Book Award winning, The Hypersexuality of Race.Mireille Miller-Young is assistant professor of feminist studies at the University of California, Santa Barbara. Her forthcoming book, A Taste for Brown Sugar: Black Women, Sex Work, and Pornography (Duke University Press) examines African American women’s sex work in the porn industry.

    Anthony, Simone de Beauvoir, W.E.B. Du Bois, Hélène Cixous, Betty Friedan, Charlotte Perkins Gilman, Emma Goldman, Guerrilla Girls, Ding Ling, Audre Lorde, John Stuart Mill, Christine de Pizan, Adrienne Rich, Margaret Sanger, Huda Shaarawi, Sojourner Truth, Mary Wollstonecraft, and Virginia Woolf.The Essential Feminist Reader is the first anthology to present the full scope of feminist history. Prizewinning historian Estelle B. Freedman brings decades of teaching experience and scholarship to her selections, which span more than five centuries. Moving beyond standard texts by English and American thinkers, this collection features primary source material from around the globe, including short works of fiction and drama, political manifestos, and the work of less well-known writers. Freedman’s cogent Introduction assesses the challenges facing feminism, while her accessible, lively commentary contextualizes each piece. The Essential Feminist Reader is a vital addition to feminist scholarship, and an invaluable resource for anyone interested in the history of women.

    Too sensitive, or not sensitive enough. Too dowdy or too made-up. Too big or too thin. Sluts or prudes. We are harassed, told we are asking for it, and asked if it would kill us to smile. Yes, yes it would.Contrary to the rhetoric of popular “self-help” and an entire lifetime of being told otherwise, our rage is one of the most important resources we have, our sharpest tool against both personal and political oppression. We’ve been told for so long to bottle up our anger, letting it corrode our bodies and minds in ways we don’t even realize. Yet our anger is a vital instrument, our radar for injustice and a catalyst for change. On the flip side, the societal and cultural belittlement of our anger is a cunning way of limiting and controlling our power.We are so often told to resist our rage or punished for justifiably expressing it, yet how many remarkable achievements in this world would never have gotten off the ground without the kernel of anger that fueled them? Rage Becomes Her makes the case that anger is not what gets in our way, it is our way, sparking a new understanding of one of our core emotions that will give women a liberating sense of why their anger matters and connect them to an entire universe of women no longer interested in making nice at all costs.Following in the footsteps of classic feminist manifestos like The Feminine Mystique and Our Bodies, Ourselves, Rage Becomes Her is an eye-opening book for the twenty-first century woman: an engaging, accessible credo offering us the tools to re-understand our anger and harness its power to create lasting positive change.

    Young women live by feminism's goals, yet feminism itself is undeniably at a crossroads; "girl power" feminists appear to be obsessed with personal empowerment at the expense of politics while political institutions such as Ms. and NOW are so battle weary they've lost their ability to speak to a new generation. In Manifesta, Jennifer Baumgardner and Amy Richards show the snags in each feminist hub--from the dissolution of riot grrrls into the likes of the Spice Girls, to older women's hawking of young girls' imperiled self-esteem, to the hyped hatred of feminist thorns like Katie Roiphe and Naomi Wolf--and prove that these snags have not, in fact, torn feminism asunder. In an intelligent and incendiary argument, Baumgardner and Richards address issues instead of feelings and the political as well as the personal. They describe the seven deadly sins the media commits against feminism, provide keys to accessible and urgent activism, discuss why the ERA is still a relevant and crucial political goal, and spell out what a world with equality would look like. They apply Third Wave confidence to Second Wave consciousness, all the while maintaining that the answer to feminism's problems is still feminism.

    However, that's not to say that the Sumerians, Victorians, and every civilization in between and beyond have not tried, wielding their most formidable weapon: the law. At any given point in time, some forms of sex were condoned while others were punished mercilessly. Jump forward or backward a century or two (and often far less than that), and the harmless fun of one time period becomes the gravest crime in another. Sex and Punishment tells the story of the struggle throughout the millennia to regulate the most powerful engine of human behavior.Writer and lawyer Eric Berkowitz uses flesh-and-blood cases—much flesh and even more blood—to evoke the entire sweep of Western sex law, from the savage impalement of an Ancient Mesopotamian adulteress to the imprisonment of Oscar Wilde in 1895 for "gross indecency." The cast of Sex and Punishment is as varied as the forms taken by human desire itself: royal mistresses, gay charioteers, medieval transvestites, lonely goat-lovers, prostitutes of all stripes, London rent boys. Each of them had forbidden sex, and each was judged—and justice, as Berkowitz shows, rarely had much to do with it. With the light touch of a natural storyteller, Berkowitz spins these tales and more, going behind closed doors to reveal the essential history of human desire.

    They had a blond Clairol wave in their hair. They wore girdles and waist-pinchers. . . . In recent years good girls join the army. They climb the corporate ladder. They go to the gym. . . . They wear painful pointy shoes. They don’t eat too much. They . . . don’t eat at all. They stay perfect. They stay thin. I could never be good.”The Good Body starts with Eve’s tortured relationship with her own “post-forties” stomach and her skirmishes with everything from Ab Rollers to fad diets and fascistic trainers in an attempt get the “flabby badness” out. As Eve hungrily seeks self-acceptance, she is joined by the voices of women from L.A. to Kabul, whose obsessions are also laid bare: A young Latina candidly critiques her humiliating “spread,” a stubborn layer of fat that she calls “a second pair of thighs.” The wife of a plastic surgeon recounts being systematically reconstructed–inch by inch–by her “perfectionist” husband. An aging magazine executive, still haunted by her mother’s long-ago criticism, describes her desperate pursuit of youth as she relentlessly does sit-ups.Along the way, Eve also introduces us to women who have found a hard-won peace with their bodies: an African mother who celebrates each individual body as signs of nature’s diversity; an Indian woman who transcends “treadmill mania” and delights in her plump cheeks and curves; and a veiled Afghani woman who is willing to risk imprisonment for a taste of ice cream. These are just a few of the inspiring stories woven through Eve’s global journey from obsession to enlightenment. Ultimately, these monologues become a personal wake-up call from Eve to love the “good bodies” we inhabit.From the Hardcover edition.

    The result is an informative, insightful, and engaging account of a highly sensitive and still largely secret aspect of Arab society. Sex is entwined in religion, tradition, politics, economics, and culture, so it is the perfect lens through which to examine the complex social landscape of the Arab world. From pregnant virgins to desperate housewives, from fearless activists to religious firebrands, from sex work to same-sex relations, Sex and the Citadel takes a fresh look at the sexual history of the region and brings new voices to the debate over its future.  This is no peep show or academic treatise but a highly personal and often humorous account of one woman’s journey to better understand Arab society at its most intimate and, in the process, to better understand her own origins. Rich with five years of groundbreaking research, Sex and the Citadel gives us a unique and timely understanding of everyday lives in a part of the world that is changing before our eyes.

    He challenges any single discourse on the erotic. The scope of his inquiry ranges from Emily Bronte to Sade, from St. Therese to Claude Levi-Strauss, and Dr. Kinsey; and the subjects he covers include prostitution, mythical ecstasy, cruelty, and organized war. Investigating desire prior to and extending beyond the realm of sexuality, he argues that eroticism is "a psychological quest not alien to death."