The detective who checked it out soon discovered she was a welfare cheat who drove a Cadillac to collect ill-gotten government checks. And that was just the beginning: Taylor, it turned out, was also a kidnapper, and possibly a murderer. A desperately ill teacher, a combat-traumatized Marine, an elderly woman hungry for companionship; after Taylor came into their lives, all three ended up dead under suspicious circumstances. But nobody--not the journalists who touted her story, not the police, and not presidential candidate Ronald Reagan--seemed to care about anything but her welfare thievery.Growing up in the Jim Crow South, Taylor was made an outcast because of her color. As she rose to infamy, the press and politicians manipulated her image to demonize poor black women. Part social history, part true-crime investigation, Josh Levin's mesmerizing book, the product of six years of reporting and research, is a fascinating account of American racism and an expose of the "welfare queen" myth, one that fueled political debates that reverberate to this day. The Queen tells, for the first time, the fascinating story of what was done to Linda Taylor, what she did to others, and what was done in her name.

    For many, filing the suit was a radicalizing act that empowered them to "find themselves" and stake a claim. Others lost their way in a landscape of opportunities, pressures, discouragements, and hostilities they weren't prepared to navigate.With warmth, humor, and perspective, the book also explores why changes in the law did not change everything for today's young women.

    Liberated from home and hearth by World War I, politically enfranchised and ready to work, women arrived to take their place in the dazzling new skyscrapers of Manhattan. But they did not want to stay in uncomfortable boarding houses. They wanted what men already had—exclusive residential hotels with maid service, workout rooms, and private dining. Built in 1927, at the height of the Roaring Twenties, the Barbizon Hotel was designed as a luxurious safe haven for the “Modern Woman” hoping for a career in the arts. Over time, it became the place to stay for any ambitious young woman hoping for fame and fortune. Sylvia Plath fictionalized her time there in The Bell Jar, and, over the years, it’s almost 700 tiny rooms with matching floral curtains and bedspreads housed, among many others, Titanic survivor Molly Brown; actresses Grace Kelly, Liza Minnelli, Ali MacGraw, Jaclyn Smith; and writers Joan Didion, Gael Greene, Diane Johnson, Meg Wolitzer. Mademoiselle magazine boarded its summer interns there, as did Katharine Gibbs Secretarial School its students and the Ford Modeling Agency its young models. Before the hotel’s residents were household names, they were young women arriving at the Barbizon with a suitcase and a dream. Not everyone who passed through the Barbizon’s doors was destined for success—for some, it was a story of dashed hopes—but until 1981, when men were finally let in, the Barbizon offered its residents a room of their own and a life without family obligations. It gave women a chance to remake themselves however they pleased; it was the hotel that set them free. No place had existed like it before or has since. “Poignant and intriguing” (The New Republic), The Barbizon weaves together a tale that has, until now, never been told. It is both a vivid portrait of the lives of these young women looking for something more and a “brilliant many-layered social history of women’s ambition and a rapidly changing New York through the 20th century” (The Guardian).

    So too is a fat woman, a horny woman, a woman shrieking with laughter. Women who are one or more of these things have heard, or perhaps simply intuited, that we are repugnantly excessive, that we have taken illicit liberties to feel or fuck or eat with abandon. After bellowing like a barn animal in orgasm, hoovering a plate of mashed potatoes, or spraying out spit in the heat of expostulation, we've flinched-ugh, that was so gross. I am so gross. On rare occasions, we might revel in our excess--belting out anthems with our friends over karaoke, perhaps--but in the company of less sympathetic souls, our uncertainty always returns. A woman who is Too Much is a woman who reacts to the world with ardent intensity is a woman familiar to lashes of shame and disapproval, from within as well as without. Written in the tradition of Shrill, Dead Girls, Sex Object and other frank books about the female gaze, TOO MUCH encourages women to reconsider the beauty of their excesses-emotional, physical, and spiritual. Rachel Vorona Cote braids cultural criticism, theory, and storytelling together in her exploration of how culture grinds away our bodies, souls, and sexualities, forcing us into smaller lives than we desire. An erstwhile Victorian scholar, she sees many parallels between that era's fixation on women's "hysterical" behavior and our modern policing of the same; in the space of her writing, you're as likely to encounter Jane Eyre and Lizzie Bennet as you are Britney Spears and Lana Del Rey. This book will tell the story of how women, from then and now, have learned to draw power from their reservoirs of feeling, all that makes us "Too Much."

    Thousands of fans flocked to multi‑day events, and cities vied with one another to host them. The pilots themselves were hailed as dashing heroes who cheerfully stared death in the face. Well, the men were hailed. Female pilots were more often ridiculed than praised for what the press portrayed as silly efforts to horn in on a manly, and deadly, pursuit. Fly Girls recounts how a cadre of women banded together to break the original glass ceiling: the entrenched prejudice that conspired to keep them out of the sky. O’Brien weaves together the stories of five remarkable women: Florence Klingensmith, a high‑school dropout who worked for a dry cleaner in Fargo, North Dakota; Ruth Elder, an Alabama divorcee; Amelia Earhart, the most famous, but not necessarily the most skilled; Ruth Nichols, who chafed at the constraints of her blue‑blood family’s expectations; and Louise Thaden, the mother of two young kids who got her start selling coal in Wichita. Together, they fought for the chance to race against the men — and in 1936 one of them would triumph in the toughest race of all.   Like Hidden Figures and Girls of Atomic City, Fly Girls celebrates a little-known slice of history in which tenacious, trail-blazing women braved all obstacles to achieve greatness.

    When you learn about women in history, it's hard not to wonder: why do they all seem so prim and proper? The truth is, you're probably not being told the whole story. Also, (mostly male) historians keep leaving out or glossing over some of the most badass women who ever walked the surface of this planet. Fake news! But fret not. Former Buzzfeed senior writer and Washington Post pop culture host Hannah Jewell has got you covered. In 100 Nasty Women of History, Hannah will spill the tea on:-the women with impressive kill counts-the women who wrote dangerous things-the women who fought empires and racists-the women who knew how to have a good-ass time-the women who punched Nazis (metaphorically but also not)And that's just half of the women in this book. That's pretty metal.So, if you think that Nasty Women are a new thing, think again. They've always been around - you just haven't always heard of them. Take these stories and tell them to your friends. Write them on a wall. Sneakily tell them to your niece (who's old enough to hear the bad words, of course). Post them to your local MP (especially if it's a man). Make your friends dress up as Nasty Women for Halloween. These are the 100 Nasty Women of History who gave zero f*cks whatsoever. These are the 100 Nasty Women of History who made a difference. These are the 100 Nasty Women of History whom everyone needs to know about, right now.

    In this brilliant history of the phenomenon, Richardson shares debutantes’ own words—from diaries, letters, and interviews—throughout her vivid telling, beginning in Henry VIII’s era, sweeping through Queen Elizabeth I’s court, crossing back and forth the Atlantic to colonial Philadelphia, African American communities, Jane Austen’s England, and Mrs. Astor’s parties, ultimately arriving at the contemporary New York Infirmary and International balls.Whether maligned for its archaic attitude and objectification of women or praised for raising money for charities and providing a necessary coming-of-age ritual, the debutante tradition has more to tell us in this entertaining and illuminating book.

    But for someone who should have been hailed as a pioneer in the genre there was little information available. For, as O’Meara soon discovered, Patrick’s contribution had been claimed by a jealous male colleague, her career had been cut short and she soon after had disappeared from film history. No one even knew if she was still alive.As a young woman working in the horror film industry, O’Meara set out to right the wrong, and in the process discovered the full, fascinating story of an ambitious, artistic woman ahead of her time. Patrick’s contribution to special effects proved to be just the latest chapter in a remarkable, unconventional life, from her youth growing up in the shadow of Hearst Castle, to her career as one of Disney’s first female animators. And at last, O’Meara discovered what really had happened to Patrick after The Creature’s success, and where she went.A true-life detective story and a celebration of a forgotten feminist trailblazer, Mallory O’Meara’s The Lady from the Black Lagoon establishes Patrick in her rightful place in film history while calling out a Hollywood culture where little has changed since.

    As Tori Telfer reveals in Confident Women, the art of the con has a long and venerable tradition, and its female practitioners are some of the best—or worst.In the 1700s in Paris, Jeanne de Saint-Rémy scammed the royal jewelers out of a necklace made from six hundred and forty-seven diamonds by pretending she was best friends with Queen Marie Antoinette.In the mid-1800s, sisters Kate and Maggie Fox began pretending they could speak to spirits and accidentally started a religious movement that was soon crawling with female con artists. A gal calling herself Loreta Janeta Velasquez claimed to be a soldier and convinced people she worked for the Confederacy—or the Union, depending on who she was talking to. Meanwhile, Cassie Chadwick was forging paperwork and getting banks to loan her upwards of $40,000 by telling people she was Andrew Carnegie’s illegitimate daughter.In the 1900s, a 40something woman named Margaret Lydia Burton embezzled money all over the country and stole upwards of forty prized show dogs, while a few decades later, a teenager named Roxie Ann Rice scammed the entire NFL. And since the death of the Romanovs, women claiming to be Anastasia have been selling their stories to magazines. What about today? Spoiler alert: these “artists” are still conning. Confident Women asks the provocative question: Where does chutzpah intersect with a uniquely female pathology—and how were these notorious women able to so spectacularly dupe and swindle their victims?

    With courage, guile, and nerves of steel, these “ghetto girls” paid off Gestapo guards, hid revolvers in loaves of bread and jars of marmalade, and helped build systems of underground bunkers. They flirted with German soldiers, bribed them with wine, whiskey, and home cooking, used their Aryan looks to seduce them, and shot and killed them. They bombed German train lines and blew up a town’s water supply. They also nursed the sick and taught children.Yet the exploits of these courageous resistance fighters have remained virtually unknown.As propulsive and thrilling as Hidden Figures, In the Garden of Beasts, Band of Brothers, and A Train in Winter, The Light of Days at last tells the true story of these incredible women whose courageous yet little-known feats have been eclipsed by time. Judy Batalion—the granddaughter of Polish Holocaust survivors—takes us back to 1939 and introduces us to Renia Kukielka, a weapons smuggler and messenger who risked death traveling across occupied Poland on foot and by train. Joining Renia are other women who served as couriers, armed fighters, intelligence agents, and saboteurs, all who put their lives in mortal danger to carry out their missions. Batalion follows these women through the savage destruction of the ghettos, arrest and internment in Gestapo prisons and concentration camps, and for a lucky few—like Renia, who orchestrated her own audacious escape from a brutal Nazi jail—into the late 20th century and beyond.Powerful and inspiring, featuring twenty black-and-white photographs, The Light of Days is an unforgettable true tale of war, the fight for freedom, exceptional bravery, female friendship, and survival in the face of staggering odds.

    As a country, we haven't wrapped our heads around what it should look like for a woman to be in the job of President. Our only models are men. While wildly disappointed by the outcome of the 2016 election, Palmieri argues that our feelings-confusion, love, hate, acceptance-can now open the country up to reimagining women in leadership roles. And that is what Palmieri takes on in this book-redefining expectations for women looking to lead and creating a blueprint for women candidates and leaders to follow. Dear Madam President will turn the results of the 2016 election into something incredibly empowering for graduates, future female leaders, and independent thinkers everywhere.

    However, the iconic women of the 1990s—such as Hillary Clinton, Courtney Love, Roseanne Barr, Marcia Clark, and Anita Hill—earned their places in history not as trailblazers, but as whipping girls of the media. During this decade, American society grew increasingly hostile to women who dared to speak up, challenge power, or defy rigid expectations for female behavior.Deeply researched yet thoroughly engaging, 90s Bitch untangles the complex history of women in the 1990s, exploring how they were maligned by the media, vilified by popular culture, and objectified in the marketplace. In an age where even a presidential nominee can be derided as a “nasty woman,” it’s clear that the epidemic of casting women as bitches persists. To understand why we must take a long, hard look back at the 1990s—a decade in which female empowerment was twisted into bitchification and exploitation.Yarrow’s thoughtful, clear-eyed, and timely examination is a must-read for anyone seeking to understand gender politics and how we might end the “bitch epidemic” for the next generation.

    An orphaned niece of President Theodore Roosevelt, she converted her Gilded Age childhood of denial and secrecy into an irreconcilable marriage with her ambitious fifth cousin Franklin. Despite their inability to make each other happy, Franklin Roosevelt transformed Eleanor from a settlement house volunteer on New York’s Lower East Side into a matching partner in New York’s most important power couple in a generation. When Eleanor discovered Franklin’s betrayal with her younger, prettier social secretary, Lucy Mercer, she offered a divorce and vowed to face herself honestly. Here is an Eleanor both more vulnerable and more aggressive, more psychologically aware and sexually adaptable than we knew. She came to accept FDR’s bond with his executive assistant, Missy LeHand; she allowed her children to live their own lives, as she never could; and she explored her sexual attraction to women, among them a star female reporter on FDR’s first presidential campaign, and younger men. Eleanor needed emotional connection. She pursued deeper relationships wherever she could find them. Throughout her life and travels, there was always another person or place she wanted to heal. As FDR struggled to recover from polio, Eleanor became a voice for the voiceless, her husband’s proxy in presidential ambition, and then the people’s proxy in the White House. Later, she would be the architect of international human rights and world citizen of the Atomic Age, urging Americans to cope with the anxiety of global annihilation by cultivating a “world mind.” She insisted that we cannot live for ourselves alone but must learn to live together or we will die together. Drawing on new research, Michaelis’s riveting portrait is not just a comprehensive biography of a major American figure, but the story of an American ideal: how our freedom is always a choice. Eleanor rediscovers a model of what is noble and evergreen in the American character, a model we need today more than ever.

    Fans fell in love with Eliza Hamilton—Alexander Hamilton’s devoted wife—in Lin-Manuel Miranda’s phenomenal musical Hamilton. But they don’t know her full story. A strong pioneer woman, a loving sister, a caring mother, and in her later years, a generous philanthropist, Eliza had many sides—and this fascinating biography brings her multi-faceted personality to vivid life. Eliza Hamilton: The Extraordinary Life and Times of The Wife of Alexander Hamilton follows Eliza through her early years in New York, into the ups and downs of her married life with Alexander, beyond the aftermath of his tragic murder, and finally to her involvement in many projects that cemented her legacy as one of the unsung heroes of our nation’s early days. Featuring Mazzeo’s “impeccable research and crafting” (Library Journal), and perfect for fans of the richly detailed historical books by Ron Chernow and Erik Larson, Eliza Hamilton is the captivating account of the woman behind the famous man.

    In the 1970s, Pollack had excelled as one of Yale’s first two women to earn a bachelor of science degree in physics. But, isolated, lacking in confidence, and starved for encouragement, she abandoned her lifelong dream of becoming a theoretical physicist. Years later, she thought back on her experiences and wondered what had changed in the intervening decades, and what challenges remained. Based on six years of interviewing dozens of teachers and students and reviewing studies on gender bias, The Only Woman in the Room is an illuminating exploration of the cultural, social, psychological, and institutional barriers confronting women in the STEM disciplines. Pollack brings to light the struggles that women in the sciences are often hesitant to admit and provides hope that changing attitudes and behaviors can bring more women into fields in which they remain, to this day, seriously underrepresented.Eileen Pollack is the author of the novels Breaking and Entering (a New York Times Editor’s Choice selection) and Paradise, New York, as well as two collections of short fiction, an award-winning book of nonfiction, and two creative-nonfiction textbooks. Her work has appeared in Best American Essays and Best American Short Stories. She is a professor on the faculty of the Helen Zell MFA Program in Creative Writing at the University of Michigan. She divides her time between Manhattan and Ann Arbor, Michigan.