In today's world, women have more power, legal recognition, and professional success than ever before. Alongside the evident progress of the women's movement, however, writer and journalist Naomi Wolf is troubled by a different kind of social control, which, she argues, may prove just as restrictive as the traditional image of homemaker and wife. It's the beauty myth, an obsession with physical perfection that traps the modern woman in an endless spiral of hope, self-consciousness, and self-hatred as she tries to fulfill society's impossible definition of "the flawless beauty."

    Women, Art, and Power—seven landmark essays on women artists and women in art history—brings together the work of almost twenty years of scholarship and speculation.

    Among the many Things No One Will Tell Fat Girls that you don't want to miss:1. It's Possible to Love Your Body (Today. Now.)2. You Can Train Your Brain to Play Nice3. Your Weight Is Not a Reflection Of Your Worth4. Changing Your Tumblr Feed Will Change Your Life5. Salad Will Not Get You to Heaven6. Cheesecake Will Not Send You to HellWith her trademark wit, honesty, and rallying spirit, veteran blogger and advocate Jes Baker makes the case for embracing a body-positive worldview, changing perceptions about weight, and making mental wellness a priority. Alongside notable guest essayists, Baker calls on all people to reject fat prejudice, fight body-shaming at the hands of marketing and media, and join the life-changing movement with one step: change the world by loving your body. If you're a person with a body, this book is for you.

    Our public spaces are not designed for female bodies. There is little consideration for women as mothers, workers or carers. The urban streets often are a place of threats rather than community. Gentrification has made the everyday lives of women even more difficult. What would a metropolis for working women look like? A city of friendships beyond Sex and the City. A transit system that accommodates mothers with strollers on the school run. A public space with enough toilets. A place where women can walk without harassment.In Feminist City, through history, personal experience and popular culture Leslie Kern exposes what is hidden in plain sight: the social inequalities built into our cities, homes, and neighborhoods. Kern offers an alternative vision of the feminist city. Taking on fear, motherhood, friendship, activism, and the joys and perils of being alone, Kern maps the city from new vantage points, laying out an intersectional feminist approach to urban histories and proposes that the city is perhaps also our best hope for shaping a new urban future. It is time to dismantle what we take for granted about cities and to ask how we can build more just, sustainable, and women-friendly cities together.

    With humor and levity, here Adichie offers readers a unique definition of feminism for the twenty-first century—one rooted in inclusion and awareness. She shines a light not only on blatant discrimination, but also the more insidious, institutional behaviors that marginalize women around the world, in order to help readers of all walks of life better understand the often masked realities of sexual politics. Throughout, she draws extensively on her own experiences—in the U.S., in her native Nigeria, and abroad—offering an artfully nuanced explanation of why the gender divide is harmful for women and men, alike. Argued in the same observant, witty and clever prose that has made Adichie a bestselling novelist, here is one remarkable author’s exploration of what it means to be a woman today—and an of-the-moment rallying cry for why we should all be feminists.

    Since its initial publication in 1983, it has become an essential text on Black women's lives and writings. This edition features an updated lists of contributor biographies and an all-new preface that provides a fresh assessment of how Black women's lives have changed- or not- since the book was first published.Includes:For a godchild, Regina, on the occasion of her first love by Toi DerricotteThe damned by Toi DerricotteHester's song by Toi DerricotteThe sisters by Alexis De VeauxDebra by Michelle T. ClintonIf I could write this in fire, I would write this in fire by Michelle CliffThe blood - yes, the blood: a conversation by Cenen and Barbara SmithSomething Latino was up with us by Spring ReddI used to think by Chirlane McCrayThe black back-ups by Kate RushinHome by Barbara SmithUnder the days: the buried life and poetry of Angelina Weld Grimké by Akasha (Gloria) HullThe black lesbian in American literature: an overview by Ann Allen ShockleyArtists without art form by Renita WeemsI've been thinking of Diana Sands by Patricia JonesA cultural legacy denied and discovered : black lesbians in fiction by women by Jewelle L. GomezWhat it is I think she's doing anyhow: a reading of Toni Cade Bambara's The salt eaters by Akasha (Gloria) HullTar beach by Audre LordeBefore I dress and soar again by Donna AllegraLeRoy's birthday by Raymina Y. MaysThe wedding by Beverly SmithMaria de las Rosas by Becky BirthaMiss Esther's land by Barbara A. BanksThe failure to transform: homophobia in the black community by Cheryl ClarkeWhere will you be? by Pat ParkerAmong the things that use to be by Willie M. ColemanFrom sea to shining sea by June JordanWomen of summer by Cheryl ClarkeThe tired poem: last letter from a typical unemployed black professional woman by Kate RushinShoes are made for walking by Shirley O. SteeleBilly de Lye by Deidre McCallaThe Combahee River Collective statement by Combahee River CollectiveBlack macho and black feminism by Linda C. PowellBlack lesbianbyfeminist organizing: a conversation by Tania Abdulahad ... [et al.]For strong women by Michelle T. ClintonThe black goddess by Kate RushinWomen's spirituality: a household act by Luisah TeishOnly justice can stop a curse by Alice WalkerCoalition politics: turning the century by Bernice Johnson Reagon

    In Trans Liberation, Feinberg has gathered a collection of hir speeches on trans liberation and its essential connection to the liberation of all people. This wonderfully immediate, impassioned, and stirring book is for anyone who cares about civil rights and creating a just and equitable society.

    In chapters on the penis (in all its incarnations), fifties Hollywood, male beauty standards, and sexual harassment, and in discussions of topics ranging from Marlon Brando and Boogie Nights to Philip Roth and Lady Chatterley's Lover, Bordo offers fresh and unexpected insights. Always--whether she is examining Michael Jordan or Humbert Humbert, the butch phallus or her own grade-school experiences--she rejects rigid categories in favor of an honest, nuanced version of men as flesh-and-blood human beings.

    Feminist, political, and activist writers alike will present their ideas for a paradigm shift from the “No Means No” model—an approach that while necessary for where we were in 1974, needs an overhaul today.Yes Means Yes will bring to the table a dazzling variety of perspectives and experiences focused on the theory that educating all people to value female sexuality and pleasure leads to viewing women differently, and ending rape. Yes Means Yes aims to have radical and far-reaching effects: from teaching men to treat women as collaborators and not conquests, encouraging men and women that women can enjoy sex instead of being shamed for it, and ultimately, that our children can inherit a world where rape is rare and swiftly punished. With commentary on public sex education, pornography, mass media, Yes Means Yes is a powerful and revolutionary anthology.

    This anthology captures the range of problems being considered by the new feminists, and the variety of approaches to analysis and action. Over fifty contributors, all women, write about how the "51% minority group" is used and abused by the major institutions of our society--marriage, the family, church, courts, the media, welfare, the schools, the professions, business, and industry. A section on the psychological and sexual repression of women attacks the freudian view of the female, and discusses the problems of the aging woman, abortion and birth control, prostitution, the persecution of lesbians. Black women, a Mexican woman, high school women, ex-New Leftists, housewives, and seasoned feminists speak from their experience in tones that range from detachment to outrage. ARE MEN REALLY THE ENEMY?A Questionnaire by Jayne West, from No More Fun and Games True or False __ Woman's work is never done. __ You can't tell a book by its cover. __ Housework can be fun. __ A female dog is referred to as a bitch. __ One of the more degrading terms that can be applied to a man is "son of a bitch." Multiple Choice 1. Most rapes are committed by: (a) women; (b) children; (c) men (perverts); (d) I am unable to distinguish rape from ordinary sexual relations. 2. Which do you prefer being called: (a) lady; (b) woman; (c) female; (d) girl; (e) none of the above. 3. If I could do away with anything I wanted, the first thing I would do away with is: (a) the family; (b) the state; (c) private property; (d) menstrual periods; (e) all of the above. Essay Discuss the variations in tone possible when asking a male druggist: "Have you Tampax Super?"

    While progressive political movements, including the Marxist and feminist movements, have fought for equal pay, better work conditions, and the recognition of unpaid work as a valued form of labor, even they have tended to accept work as a naturalized or inevitable activity. Weeks argues that in taking work as a given, we have “depoliticized” it, or removed it from the realm of political critique. Employment is now largely privatized, and work-based activism in the United States has atrophied. We have accepted waged work as the primary mechanism for income distribution, as an ethical obligation, and as a means of defining ourselves and others as social and political subjects. Taking up Marxist and feminist critiques, Weeks proposes a postwork society that would allow people to be productive and creative rather than relentlessly bound to the employment relation. Work, she contends, is a legitimate, even crucial, subject for political theory.

    Focusing in Part I on the Olmec heads of early Mesoamerica, the colossal statues of the pharaoh Amenhotep III, and the nudes of classical Greece, Beard explores the power, hierarchy, and gender politics of the art of the ancient world, and explains how it came to define the so-called civilized world. In Part II, Beard chronicles some of the most breathtaking religious imagery ever made—whether at Angkor Wat, Ravenna, Venice, or in the art of Jewish and Islamic calligraphers— to show how all religions, ancient and modern, have faced irreconcilable problems in trying to picture the divine. With this classic volume, Beard redefines the Western-and male-centric legacies of Ernst Gombrich and Kenneth Clark.

    Feminine form of flâneur [flanne-euhr], an idler, a dawdling observer, usually found in cities.That is an imaginary definition.'If the word flâneur conjures up visions of Baudelaire, boulevards and bohemia – then what exactly is a flâneuse?In this gloriously provocative and celebratory book, Lauren Elkin defines her as ‘a determined resourceful woman keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk’. Part cultural meander, part memoir, Flâneuse traces the relationship between the city and creativity through a journey that begins in New York and moves us to Paris, via Venice, Tokyo and London, exploring along the way the paths taken by the flâneuses who have lived and walked in those cities.From nineteenth-century novelist George Sand to artist Sophie Calle, from war correspondent Martha Gellhorn to film-maker Agnes Varda, Flâneuse considers what is at stake when a certain kind of light-footed woman encounters the city and changes her life, one step at a time.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    Dutifully absorbing all the conflicting information the culture has to offer on how to be a woman, Chocano grappled with sexed-up sidekicks, princesses waiting to be saved, and morally infallible angels who seemed to have no opinions of their own. She learned that "the girl" is not a person, but a man's idea of what a woman should be—she’s whatever the hero needs her to be in order to become himself. It wasn't until she spent five years as a movie critic and was laid off just after her daughter was born that she really came to understand how the stories the culture tells us about what it means to be female limit our lives and shape our destinies. She resolved to rewrite her own story.In You Play the Girl, Chocano blends formative personal stories with insightful and emotionally powerful analysis. Moving from Bugs Bunny to Playboy Bunnies, from Flashdance to "Frozen," from the progressive ’70s through the backlash ’80s, the glib ’90s, and the pornified aughts—and at stops in between—she explains how growing up in the shadow of “the girl” taught her to think about herself and the world and what it means to raise a daughter in the face of these contorted reflections. In the tradition of Roxane Gay, Rebecca Solnit, and Susan Sontag, Chocano brilliantly shows that our identities are more fluid than we think, and certainly more complex than anything we see on any kind of screen.