Mill Thought that men simply don't know what women are capable of, because we have never let them try - nobody can not make a statement without evidence. We can't stop women from trying things because they might not be able to do them. An argument based on speculative physiology is just that, speculation..."

    Now a new generation of brilliant, outspoken women of color is speaking to the concerns of a new feminism, and their place in it. Daisy Hernandez of Ms. magazine and poet Bushra Rehman have collected a diverse, lively group of emerging writers who speak to their experience—to the strength and rigidity of community and religion, to borders and divisions, both internal and external—and address issues that take feminism into the twenty-first century. One writer describes herself as a “mixed brown girl, Sri-Lankan and New England mill-town white trash,” and clearly delineates the organizing differences between whites and women of color: “We do not kick ass the way the white girls do, in meetings of NOW or riot grrl. For us, it’s all about family.” A Korean-American woman struggles to create her own identity in a traditional community: “Yam-ja-neh means nice, sweet, compliant. I’ve heard it used many times by my parents’ friends who don’t know shit about me.” An Arab-American feminist deconstructs the “quaint vision” of Middle-Eastern women with which most Americans feel comfortable. This impressive array of first-person accounts adds a much-needed fresh dimension to the ongoing dialogue between race and gender, and gives voice to the women who are creating and shaping the feminism of the future.

    They include introductions for books of avant-garde poets; collaborations with visual artists, and articles for publications such as The New York Review of Books, The London Review of Books, and October.One section focuses on writers and literary works: strange tales from classical and modern China; the Psalms in translation: a skeptical look at E. B. White’s New York. Another section is a continuation of Weinberger’s celebrated political articles collected in What Happened Here: Bush Chronicles (a finalist for the National Books Critics Circle Award), including a sequel to “What I Heard About Iraq,” which the Guardian called the only antiwar “classic” of the Iraq War. A new installment of his magnificent linked “serial essay,” An Elemental Thing, takes us on a journey down the Yangtze River during the Sung Dynasty.The reader will also find the unlikely convergences between Samuel Beckett and Octavio Paz, photography and anthropology, and, of course, oranges and peanuts, as well as an encomium for Obama, a manifesto on translation, a brief appearance by Shiva, and reflections on the color blue, death, exoticism, Susan Sontag, and the arts and war.

    This acclaimed dictionary is an invaluable introduction to the theories and theorists in the field and will prove an authoritative resource for all students.

    Whether rescuing "Calvinism" and its creator Jean Cauvin from the repressive "puritan" stereotype, or considering how the McGuffey readers were inspired by Midwestern abolitionists, or the divide between the Bible and Darwinism, Marilynne Robinson repeatedly sends her reader back to the primary texts that are central to the development of American culture but little read or acknowledged today.A passionate and provocative celebration of ideas, the old arts of civilization, and life's mystery, The Death of Adam is, in the words of Robert D. Richardson, Jr., "a grand, sweeping, blazing, brilliant, life-changing book."

    As relevant as when it was first published in 1968, groundbreaking director and cofounder of the Royal Shakespeare Company Peter Brook draws on a life in love with the stage to explore the issues facing a theatrical performance—of any scale. He describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting, from Brecht’s revolutionary alienation technique to the free form happenings of the 1960s, and from the different styles of such great Shakespearean actors as John Gielgud and Paul Scofield to a joyous impromptu performance in the burnt-out shell of the Hamburg Opera just after the war. Passionate, unconventional, and fascinating, this book shows how theatre defies rules, builds and shatters illusions, and creates lasting memories for its audiences.

    Deepens & refreshes our view of early Christianity while casting a disturbing light on the evolution of the attitudes passed down to us.AcknowledgmentsThe Book of Genesis, Chapters 1-3Introduction "The Kingdom of God is at hand" Christians against the Roman orderGnostic improvisations on Genesis The "Paradise of Virginity" regained The politics of paradise The nature of nature EpilogueNotesIndex

    With the sheer brilliance of her imagination, Grealy leads us on delightful journeys with her wit, unflinching honesty and peerless intelligence. As Seen On TV breaks the mould of the essay, and is destined, like the memoir that preceded it, to become a modern classic.You are here: a map to this book --As seen on TV --Nerve --Mirrorings --What it takes --Fool in boots --The country of childhood --My God --A brief sketch of myself at fourteen --Written in four voices for the Hungry Mind Review issue on regional writing --The story so far --The right language --The present tense --Twin world --The girls --The yellow house

    Her name is Wild Woman, but she is an endangered species. Clarissa Pinkola Estes, Ph.D., Jungian analyst and cantadora storyteller shows how women's vitality can be restored through what she calls "psychic archeological digs" into the ruins of the female unconsious. Using multicultural myths, fairy tales, folk tales, and stories, Dr. Estes helps women reconnect with the healthy, instinctual, visionary attributes of the Wild Woman archetype.Dr. Estes has created a new lexicon for describing the female psyche. Fertile and life-giving, it is a psychology of women in the truest sense, a knowing of the soul.

    Then she is publicly hanged alongside her attacker. These events took place in 1644, in Boston, where today they would beviewed with horror. How--and when--did such a complete transformation of our culture's attitudes toward sex occur?In The Origins of Sex, Faramerz Dabhoiwala provides a landmark history, one that will revolutionize our understanding of the origins of sexuality in modern Western culture. For millennia, sex had been strictly regulated by the Church, the state, and society, who vigorously and brutally attempted topunish any sex outside of marriage. But by 1800, everything had changed. Drawing on vast research--from canon law to court cases, from novels to pornography, not to mention the diaries and letters of people great and ordinary--Dabhoiwala shows how this dramatic change came about, tracing theinterplay of intellectual trends, religious and cultural shifts, and politics and demographics. The Enlightenment led to the presumption that sex was a private matter; that morality could not be imposed; that men, not women, were the more lustful gender. Moreover, the rise of cities erodedcommunity-based moral policing, and religious divisions undermined both church authority and fear of divine punishment. Sex became a central topic in poetry, drama, and fiction; diarists such as Samuel Pepys obsessed over it. In the 1700s, it became possible for a Church of Scotland leader tocommend complete sexual liberty for both men and women. Arguing that the sexual revolution that really counted occurred long before the cultural movement of the 1960s, Dabhoiwala offers readers an engaging and wholly original look at the Western world's relationship to sex.Deeply researched and powerfully argued, The Origins of Sex is a major work of history.

    In eleven acute and widely ranging essays, Irigaray reconsiders the question of female sexuality in a variety of contexts that are relevant to current discussion of feminist theory and practice. Among the topics she treats are the implications of the thought of Freud and Lacan for understanding womanhood and articulating feminine discourse; classic views on the significance of the difference between male and female sex organs; and the experience of erotic pleasure in men and women. She also takes up explicitly the question of economic exploitation of women; in an astute reading of Marx she shows that the subjection of woman has been institutionalized by her reduction to an object of economic exchange. Throughout Irigaray seeks to dispute and displace male-centered structures of language and thought through a challenging writing practice that takes a first step toward a woman's discourse, a discourse that would put an end to Western culture's enduring phallocentrism. Makin more direct and accessible the subversive challenge of Speculum of the Other Woman, this volume--skillfully translated by Catherine Porter with Carolyn Burke--will be essential reading for anyone seriously concerned with contemporary feminist issues.

    In recent times the argument has evolved from one of constructive discussion to one of a refusal to engage - where the bomb speaks louder than the word. This volume collects pieces from Kureishi's work which respond to this change, providing a historical perspective for the times in which we live. 'Kureishi has a particular appreciation for the complexity of modern British Muslim identity that comes from having a mixed-race family . . . Here, Kureishi's experience turns to insight.' Observer

    She draws from her own experiences of illness and bodily injury to engage in an exploration that extends far beyond her life, spanning wide-ranging territory—from poverty tourism to phantom diseases, street violence to reality television, illness to incarceration—in its search for a kind of sight shaped by humility and grace.

    Drawing readers into the imaginative world of William Blake, Frye succeeded in making Blake's voice and vision intelligible to the wider public. Distinguished by its range of reference, elegance of expression, comprehensiveness of coverage, coherence of argument, and sympathy to its subject, Fearful Symmetry was immediately recognized as a landmark of Blake criticism. Fifty years later, it is still recognized as having ensured the acceptance of Blake as a canonical poet by permanently dispelling the widespread notion that he was the mad creator of an incomprehensible private symbolism.For this new edition, the text has been revised and corrected in accordance with the principles of the Collected Works of Northrop Frye series. Frye's original annotation has been supplemented with references to currently standard editions of Blake and others, and many new notes have been provided, identifying quotations, allusions, and cultural references. An introduction by Ian Singer provides biographical and critical context for the book, an overview of its contents, and an account of its reception.

    It is a valuable contribution not just of film criticism but to a society in which the vital role of women is just beginning to emerge."—Christian Science Monitor"Haskell is interested in women—how they are used in movies, how they use movies, and how the parts they play function as projections and verifications of our myths about women's lot and woman's psyche and even, lately, women's lib."—Jane Kramer, Village Voice"In examining the goddesses worshipped by an entire nation, Molly Haskell reveals a good deal about our national character and our most cherished sexual myths. . . . Concerned with the deeply ingrained belief of women's inferiority, she analyzes movies as a social product as well as a social arbiter, and she effectively demonstrates how women are encouraged to impose limitations on themselves by fashioning those selves after flickering shadows in a darkened auditorium—sexual creatures who possess neither ability nor ambition beyond their bodies. . . . Both as an examination of film and as sociology, From Reverence to Rape is excellent."—Harriet Kriegel, The Nation