Feminism, Interrupted is a bold call to seize feminism back from the cultural gatekeepers and return it to its radical roots. Lola Olufemi explores state violence against women, the fight for reproductive justice, transmisogyny, gendered Islamophobia and solidarity with global struggles, showing that the fight for gendered liberation can change the world for everybody when we refuse to think of it solely as women's work. Including testimonials from Sisters Uncut, migrant groups working for reproductive justice, prison abolitionists and activists involved in the international fight for Kurdish and Palestinian rights, Olufemi emphasises the link between feminism and grassroots organising. Reclaiming feminism from the clutches of the consumerist, neoliberal model, Feminism, Interrupted shows that when 'feminist' is more than a label, it holds the potential for radical transformative work.

    Scenes of Subjection examines the forms of domination that usually go undetected; in particular, the encroachments of power that take place through notions of humanity, enjoyment, protection, rights, and consent. By looking at slave narratives, plantation diaries, popular theater, slave performance, freedmen's primers, and legal cases, Hartman investigates a wide variety of "scenes" ranging from the auction block and minstrel show to the staging of the self-possessed and rights-bearing individual of freedom.While attentive to the performance of power--the terrible spectacles of slaveholders' dominion and the innocent amusements designed to abase and pacify the enslaved--and the entanglements of pleasure and terror in these displays of mastery, Hartman also examines the possibilities for resistance, redress and transformation embodied in black performance and everyday practice.This important study contends that despite the legal abolition of slavery, emergent notions of individual will and responsibility revealed the tragic continuities between slavery and freedom. Bold and persuasively argued, Scenes of Subjection will engage readers in a broad range of historical, literary, and cultural studies.

    Drawing on personal encounters, traditions of urban ethnography, Black feminist thought, gender studies, and feminist criminology, Nikki Jones gives readers a richly descriptive and compassionate account of how African American girls negotiate schools and neighborhoods governed by the so-called "code of the street"ùthe form of street justice that governs violence in distressed urban areas. She reveals the multiple strategies they use to navigate interpersonal and gender-specific violence and how they reconcile the gendered dilemmas of their adolescence. Illuminating struggles for survival within this group, Between Good and Ghetto encourages others to move African American girls toward the center of discussions of "the crisis" in poor, urban neighborhoods.

    A work that rethinks gender as a Western construction, The Invention of Women offers a new way of understanding both Yoruban and Western cultures. Author Oyeronke Oyewumi reveals an ideology of biological determinism at the heart of Western social categories-the idea that biology provides the rationale for organizing the social world. And yet, she writes, the concept of OC woman, OCO central to this ideology and to Western gender discourses, simply did not exist in Yorubaland, where the body was not the basis of social roles. Oyewumi traces the misapplication of Western, body-oriented concepts of gender through the history of gender discourses in Yoruba studies. Her analysis shows the paradoxical nature of two fundamental assumptions of feminist theory: that gender is socially constructed and that the subordination of women is universal. The Invention of Women demonstrates, to the contrary, that gender was not constructed in old Yoruba society, and that social organization was determined by relative age. A meticulous historical and epistemological account of an African culture on its own terms, this book makes a persuasive argument for a cultural, context-dependent interpretation of social reality. It calls for a reconception of gender discourse and the categories on which such study relies. More than that, the book lays bare the hidden assumptions in the ways these different cultures think. A truly comparative sociology of an African culture and the Western tradition, it will change the way African studies and gender studies proceed. "

    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.

    As Pluckrose and Lindsay warn, the unchecked proliferation of these anti-Enlightenment beliefs present a threat not only to liberal democracy but also to modernity itself. While acknowledging the need to challenge the complacency of those who think a just society has been fully achieved, Pluckrose and Lindsay break down how this often-radical activist scholarship does far more harm than good, not least to those marginalized communities it claims to champion. They also detail its alarmingly inconsistent and illiberal ethics. Only through a proper understanding of the evolution of these ideas, they conclude, can those who value science, reason, and consistently liberal ethics successfully challenge this harmful and authoritarian orthodoxy—in the academy, in culture, and beyond.

    Specifically, this was in direct response to a campaign that had been brewing for years in policy circles and "citizen" groups, culminating in California state's Proposition 187. The initiative proposed to bar undocumented children from public schools and turn away undocumented students from state colleges and universities. It also proposed to deny the undocumented an array of public benefits and social services, including prenatal and preventive care such as immunizations.While the overt purpose of this voter initiative was to curtail immigration, ostensibly by restricting the use of public benefits and social services by undocumented immigrants, the real agenda behind it was to criminalize immigrants for presumably entering the country "illegally" and stealing resources from "true" United States citizens. More to the point, Proposition 187 came out of and was aimed at perpetuating the myth that all immigrants are "illegal" at worst and, at best, the cause of our society's and economy's ills.Throughout US history, immigration has been viewed and intentionally constructed as plague, infection or infestation and immigrants as disease (social and physical), varmints or invaders. If we look at contemporary popular films, few themes seem to tap the fears or thrill the American imagination more than that of the timeless space alien invading the United States, and statespeople have snatched up this popular image to rouse public support for

    In Beyoncé in Formation, Tinsley now takes her rich observations beyond the classroom, using the blockbuster album and video Lemonade as a soundtrack for vital next-millennium narratives.Woven with candid observations about her life as a feminist scholar of African studies and a cisgender femme married to a trans spouse, Tinsley's "Femme-onade" mixtape explores myriad facets of black women's sexuality and gender. Turning to Beyoncé's "Don't Hurt Yourself," Tinsley assesses black feminist critiques of marriage and then considers the models of motherhood offered in "Daddy Lessons," interspersing these passages with memories from Tinsley's multiracial family history. Her chapters on nontraditional bonds culminate in a discussion of contemporary LGBT politics through the lens of the internet-breaking video "Formation," underscoring why Beyoncé's black femme-inism isn't only for ciswomen. From pleasure politics and the struggle for black women's reproductive justice to the subtext of blues and country music traditions, the landscape in this tour is populated by activists and artists (including Loretta Lynn) and infused with vibrant interpretations of Queen Bey's provocative, peerless imagery and lyrics.In the tradition of Roxanne Gay's Bad Feminist and Jill Lepore's bestselling cultural histories, Beyoncé in Formation is the work of a daring intellectual who is poised to spark a new conversation about freedom and identity in America.

    How do we define violence? How do we discuss and experience sex? Who gets to tell stories of sexual assault, and who gets to be heard? How impoverished is our language for describing the intersection of power, desire, and violence? What is the relationship between individual struggles and collective protest? What do we do with the abusers? In short, this moment has recalled a much older question: how do we get free?In this collection of new and previously published writings, leading activists, feminists, scholars, and writers describe the shape of the problem, chart the forms refusal has taken, and outline possible solutions. Importantly, they also describe the longer histories of organizing against sexual violence that the #MeToo moment obscures—among working women, women of color, undocumented women, imprisoned women, poor women, among those who don’t conform to traditional gender roles—and discern from these practices a freedom that is more than notional, but embodied and uncompromising.Contributors include Tarana Burke and Elizabeth Adetiba, Lauren Berlant, Tithi Bhattacharya, Stephanie Coontz and Hope Reese, Estelle Freedman, Melissa Gira Grant, Linda Gordon, Jessie Kindig, Laura Kipnis, Victoria Law, Maricruz Ladino and Gabriel Thompson, Magally A. Miranda Alcázar, Liz Mason-Deese, Danielle McGuire, Larissa Pham, Alex N. Press, Jane Ward, and Terrion L. Williamson.

    Drawing on the black feminist tradition, including Audre Lourde’s invitation to use the erotic as power and Toni Cade Bambara’s exhortation that we make the revolution irresistible, the contributors to this volume take up the challenge to rethink the ground rules of activism. Writers including Cara Page of the Astraea Lesbian Foundation For Justice, Sonya Renee Taylor, founder of This Body Is Not an Apology, and author Alexis Pauline Gumbs cover a wide array of subjects— from sex work to climate change, from race and gender to sex and drugs—creating new narratives about how politics can feel good and how what feels good always has a complex politics of its own.Building on the success of her popular Emergent Strategy, brown launches a new series of the same name with this volume, bringing readers books that explore experimental, expansive, and innovative ways to meet the challenges that face our world today. Books that find the opportunity in every crisis!

    Laura M. Ahearn shows that young Nepalese people are applying their newly acquired literacy skills to love-letter writing, fostering a transition that involves not only a shift in marriage rituals, but also a change in how villagers conceive of their own ability to act and attribute responsibility for events. These developments have potential ramifications that extend far beyond the realm of marriage and well past the Himalayas.The love-letter correspondences examined by Ahearn also provide a deeper understanding of the social effects of literacy. While the acquisition of literary skills may open up new opportunities for some individuals, such skills can also impose new constraints, expectations, and disappointments. The increase in female literacy rates in Junigau in the 1990s made possible the emergence of new courtship practices and facilitated self-initiated marriages, but it also reinforced certain gender ideologies and undercut some avenues to social power, especially for women. Scholars, and students in such fields as anthropology, women's studies, linguistics, development studies, and South Asian studies will find this book ethnographically rich and theoretically insightful. Laura M. Ahearn is Assistant Professor of Anthropology, Rutgers University.

    From Simon & Schuster, Moving Beyond Words is a collection of essays by influential feminist Gloria Steinem.In the book, Steinem examines the state of the women's movement in the 1990s and offers possibilities for the future, focusing on such issues as economic empowerment, women politicians, and life affirmations that affect women today.

    . . A must-read' Gay TimesWe talk about achieving 'LGBTQ+ equality', but around the world, LGBTQ+ people are still suffering discrimination and extreme violence. How do we solve this urgent problem, allowing queer people everywhere the opportunity to thrive?In We Can Do Better Than This, 35 voices explore this question. Through deeply moving stories and provocative new arguments on safety and visibility, dating and gender, care and community, they present a powerful manifesto for how - together - we can start to create a better future.Edited by journalist and author Amelia Abraham, with writing from:Peppermint - Wolfgang Tillmans - Olly Alexander - Jonathan Anderson - Pabllo Vittar - Naoise Dolan - Amrou Al-Kadhi - Shura - Beth Ditto - Owen Jones - Riyadh Khalaf - Tom Rasmussen - Mykki Blanco - Phyll Opoku-Gyimah - Travis Alabanza - Yasmin Benoit - Mazharul Islam - Kate Bornstein - Adam Eli - Shon Faye - Fox Fisher - Hanne Gaby Odiele - Sasha Kazantseva - Andrew Gurza - Holland - Levi Hord - Juliet Jacques - Leticia Opio - madison moore - Matthew Riemer (@LGBT_History) - Vincent Desmond - Juno Roche - Bobbi Salvör Menuez - Carl Siciliano

     This long-awaited new edition reinstates significant portions of the original French text that were cut in the first English translation. Vital and groundbreaking, Beauvoir’s pioneering and impressive text remains as pertinent today as it was back then, and will continue to provoke and inspire generations of men and women to come.

    Magazine, Bitch was launched in the mid-nineties as a Xerox-and-staple zine covering the landscape of popular culture from a feminist perspective. Both unabashed in its love for the guilty pleasures of consumer culture and deeply thoughtful about the way the pop landscape reflects and impacts women's lives, Bitch grew to be a popular, full-scale magazine with a readership that stretched worldwide. Today it stands as a touchstone of hip, young feminist thought, looking with both wit and irreverence at the way pop culture informs feminism--and vice versa--and encouraging readers to think critically about the messages lurking behind our favorite television shows, movies, music, books, blogs, and the like. BITCHFest offers an assortment of the most provocative essays, reporting, rants, and raves from the magazine's first ten years, along with new pieces written especially for the collection. Smart, nuanced, cranky, outrageous, and clear-eyed, the anthology covers everything from a 1996 celebration of pre-scandal Martha Stewart to a more recent critical look at the "gayby boom"; from a time line of black women on sitcoms to an analysis of fat suits as the new blackface; from an attempt to fashion a feminist vulgarity to a reclamation of female virginity. It's a recent history of feminist pop-culture critique and an arrow toward feminism's future.