It immediately became a literary sensation on publication, and was the biggest selling book on Amazon – anywhere in the world.Replete with a forty page description of marital sex, details of worms, and even, following an abortion, ‘the best anal sex ever’, ‘Wrecked’ reannounced Charlotte Roche, and showed her exploring the detrimental pressures placed on women as mothers and wives.

    "I have this compulsion to live no matter what..".

    To put things simply: If women today were happy, "Ally McBeal" would not be such a huge TV hit — a television phenomenon that not only provokes endless discussion nationwide but also has the distinction of mention in a Time Magazine cover story addressing the state of feminism.The anxiety-riddled character "Ally McBeal" has tapped into something simmering beneath the surface of today's professional, "successful" women. It's called misery. Worse, it's called misery without a comprehensible origin. It is this odd, pervasive unhappiness that Danielle Crittenden confronts in her fascinating, enlightening book What Our Mothers Didn't Tell Us.The premise of What Our Mothers Didn't Tell Us is that with all of the success of feminism — all of the doors that have been opened, all of the new freedoms women of this generation enjoy — "we may have inadvertently also smashed the foundations necessary for our happiness." Crittenden does not in any way suggest women revert back to the pre-Feminine Mystique days of suburban housewife malaise, but she does confront the possibility that there might have been some crucial good in many of the old patterns of living that women today reject entirely. Crittenden explains that women in the '90s have "heeded their mother's advice: Do something with your life; don't depend upon a man to take care of you; don't make the same mistakes I did. So they have made different mistakes. They are the women who postponed marriage and childbirth to pursue their careers only tofindthemselves at 35 still single and baby-crazy, with no husband in sight. They are the unwed mothers who now depend on the state to provide what the fathers of their children won't — a place to live and an income to raise their kids on. They are the eighteen-year-old girls who believed they could lead the unfettered sexual lives of men, only to have ended up in an abortion clinic or attending grade twelve English while eight months pregnant. They are the new brides who understand that when a couple promises to stay together 'forever,' they have little better than a 50-50 chance of sticking to it. They are the female partners at law firms who thought they'd made provisions for everything about their career — except for that sudden, unexpected moment when they find their insides shredding the first day they return from maternity leave, having placed their infants in a stranger's arms."What Our Mothers Didn't Tell Us examines the new problems in today's society and outlines the erroneous ways of thinking that created these problems. With a lighthearted tone and good humor throughout, Crittenden intelligently leads readers through an exploration of love, marriage, motherhood, and even aging. Her examination of dating among women in their 20s and 30s is fascinating, harsh — and yes, depressing. She paints a stark portrait of women in their 20s who brush aside sincere suitors because they believe they're too young to consider marriage, only to discover in their mid-30s that the crowd beating down their door has thinned considerably — and perhaps irrevocably. There is perhaps no more salient truth in Crittenden's book than her statement, "It is usually at precisely this moment — when a single woman looks up from her work and realizes she's ready to take on family life — that men make themselves most absent." Further, it is impossible to deny that in terms of sexual appeal, men have a longer shelf life. A successful man can attract women of any age well into his 50s, 60s...or beyond. They can father children well into old age. And according to Crittenden, "this disparity in sexual staying power is something feminists rather recklessly overlooked when they urged women to abandon marriage and domesticity in favor of autonomy and self-fulfillment outside the home."According to Crittenden, even when a young woman today manages to get married, she is most likely not headed down the path to wedded bliss. In striving so furiously not to be taken for granted as wives were in previous generations, women today often err too far in the opposite direction. Crittenden makes ironic mention of Gloria Steinem's remark that women have become "the husbands we wanted to marry"; Crittenden suggests that perhaps women today are more likely to resemble the husbands we left behind: "balky, self-absorbed, and supremely sure that our needs should come before anyone else's." Crittenden warns that a sense of entitlement devoid of compromise is not likely to lead women into enduring, happy unions.But the most significant arena of mixed messages is the realm of motherhood. Crittenden is unflinching in her look at the tug of war between work responsibility and the job of motherhood. She explores the myriad decisions and conflicts that arise upon the birth of a child. Some women are eager to return to work but feel guilty leaving their child. Some women are desperate to remain at home with their child but cannot afford to do so. Other women would prefer to remain home with their child, and can afford to do so, but are wary of leaving their jobs because if they ever need to return to the workforce they will have lost their foothold. Crittenden is critical of our culture's pervasive attitude that suggests a woman is not "doing anything" once she steps out of the workforce — an attitude that could only hold weight in a society such as ours in which "the virtues of work have been so inflated that we can no longer appreciate anything that's not accompanied by a paycheck." And as for the idea that work is a liberating alternative to the drudgery of housework and childrearing, Crittenden suggests that the number of people who have interesting, fulfilling jobs are in the great minority. Crittenden calls for women to reevaluate what they have been socialized to believe — that work offers a more defining sense of self than raising children.So, what did our mothers never tell us? Maybe they did not tell us what Crittenden explains very carefully: Women can't have it both ways. They probably can't have "it all." Life, relationships, careers...all are full of compromises that are natural and not necessarily a threat to who we are as individuals. Crittenden asserts that "If we wish to live for ourselves and think only about ourselves, we will manage to retain our independence but little else."What Our Mothers Didn't Tell Us offers a revised perspective on womanhood that is truly liberating. — Isabel Rifkin

    The wonderful writings in Thalia Field's long-awaited new book Point and Line deny categorization, they are "nicheless." Perhaps describable as "epic poetries," these riveting pieces represent a confluence of genres in which Thalia Field has been involved over the course of her career: fiction, theater, and poetry. Written from a constructivist, post-genre sensibility, they elude classification, and present the author's concern with clarity in a world that resists it. For instance, in "Hours" and "Setting, the Table," Field uses indeterminate performance techniques to emphasize the categorical/conceptual nature of thought. Other pieces use generative schemes, portraits of mental shapes, which create meaning out of noise. Visually, each chapter is captivating, showing the author's need for shapes and colors in her work, her fascination with the contours of speech.

    She had the inspired courage that saved many hundreds of Jews and Poles in World War II, the compassion that made her a self-trained doctor to tens of thousands of refugees, the incredible grit that took her close to death in several theatres of war, and the dedication to truth and justice that shone forth in her own books and a lifetime of astonishing heroism.Born in a cyclone in 1887 on a Queensland sugar plantation she grew up in grinding poverty in Gippsland and emerged from years of unpaid drudgery by writing a children's book and freelance journalism. In 1918 she married Sydney Loch, author of a banned book on Gallipoli. After a dangerous time in Dublin during the Troubles, they escaped from possible IRA vengeance to work with the Quakers in Poland. There they rescued countless dispossessed people from disease and starvation and risked death themselves.In 1922 Joice and Sydney went to Greece to aid the 1,500,000 refugees fleeing Turkish persecution. Greece was to become their home. They lived in an ancient tower by the sea in the shadows of Athos, the Holy Mountain, and worked selflessly for decades to save victims of war, famine and disease.During World War II, Joice Loch was an agent for the Allies in Eastern Europe and pulled off a spectacular escape to snatch over a thousand Jews and Poles from death just before the Nazis invaded Bucharest, escorting them via Constantinople to Palestine. By the time she died in 1982 she had written ten books, saved many thousands of lives and was one of the world's most decorated women. At her funeral the Greek Orthodox Bishop of Oxford named her 'one of the most significant women of the twentieth century.'This classic Australian biography is a tribute to one of Australia's most heroic women, who always spoke with great fondness of Queensland as her birthplace. In 2006, a Loch Memorial Museum was opened in the tower by the sea in Ouranoupolis, a tribute to the Lochs and their humanitarian work.

    But she’s also a wife, mother, grandmother, and breast cancer survivor.Whether you’re feeling invisible, disappearing into the fabric of your couch a little more every year, or simply being indecisive about what’s next, Lori offers herself as the poster child of what to do, not do, and how to see your way through the unexpected.In Say Yes to What’s Next she addresses essential issues, such as don’t let yourself go, marriage is awesome, but it’s no fairytale, keep your mouth shut and your heart open to your kids (and they’ll bring you grandkids), make time to parent your parents, maintain a close circle of girlfriends, get off the couch and live your passion, take charge of your money, and what to do when life gives you a faceplant. Say Yes to What’s Next is a life makeover and therapy session from a relatable you-can-and-you-should-do-this straight-shooter as Lori helps women shape their own futures with confidence, style, and sass.

    But at a time when women are second-class citizens, can her charm and spirit protect her from the dangers of the court? And at what cost?

    Daily they endure destructive self-talk such as “I can’t eat that or I’ll get fat” or “If I could just lose a few more pounds everything would be better.” Chronic dieters may be any shape or size but they have one thing in common: They are often left to suffer alone with an undiagnosed “sub-clinical” eating disorder. Such sub-clinical disorders include eating habits that are unusual, even unhealthy, but do not fit the technical classifications of anorexia or bulimia. Addressing the many dimension of “chronic dieting,” Life Inside the “Thin” Cage offers a wake-up call and practical steps to those who need healing. Readers will find personal stories, insights into their secret patterns and habits, reassurance that they are not alone, checklists, self-tests, and, best of all, a new road to emotional, physical, mental and spiritual freedom.

    Women and Sabarimala is a rare book and is written from a woman’s perspective, explaining the nature of the temple through India’s traditional knowledge systems, such as Ayurveda, Chakras, Tantra and Agama Shastra. At the same time, the author’s personal experiences simplify the understanding of these deep sciences, providing a glimpse into how temples impact the human physiology and, in particular, women’s menstrual cycles. This book will change the way Hindu temples, especially Sabarimala, are perceived and experienced.

    In particular, political and media policing of female social and sexual autonomy, through the neglected but significant gendered dimensions of the discourse surrounding chavs, has been accompanied by a similar restriction and regulation of the expression of working-class femininity in music. This book traces the progress of this cultural clampdown over the past twenty years."

    The author investigates three converging elements in his examination of human differences: individual attitudes and behaviors, cultural expectations, and institutional policies and practices. This examination provides the basis for the conceptual organization of the text.

    You feel like you're falling into a dream."This is the story of Esther, who lives in the Pennines with her father. Esther is obsessed with experimenting with different ways to pass out: from snorting Daz powder at school to attempted autoasphyxiation in a serviced apartment in north London. But what happens when you take something too far? And what has Esther's mother, a beautiful dancer wasting away in her bedroom, to do with it all?The Lost Art of Sinking is a dark comedy about losing yourself. Sensual, funny and exquisitely written, this bold novella introduces a fresh new literary voice in Naomi Booth. Shortlisted for the MMU Novella Award 2014.

    A nice girl from a good home, she had no idea the young lads she and her friends met every Saturday in the shopping mall weren’t all they seemed.The boys were part of an organised child sexual exploitation gang targeting innocent young girls, grooming them for prostitution. Captivated by the ring leader, and the alcohol and drugs he freely handed round, Emma didn't see the first brutal rape coming. From that moment, her life was never her own.Emma found herself drawn into a trap of degradation and violence, frightened for her life and not knowing where to turn. But Exploited is also the story of how she found the courage and inner strength to risk everything, and escape.Exploited is an updated edition of Emma's book The End of My World - brought bang up to date with a brand new chapter.

    What has been far less appreciated is how much it hurts not to be beautiful. The Beauty Bias explores our cultural preoccupation with attractiveness, the costs it imposes, and the responses it demands.Beauty may be only skin deep, but the damages associated with its absence go much deeper. Unattractive individuals are less likely to be hired and promoted, and are assumed less likely to have desirable traits, such as goodness, kindness, and honesty. Three quarters of women consider appearanceimportant to their self image and over a third rank it as the most important factor.Although appearance can be a significant source of pleasure, its price can also be excessive, not only in time and money, but also in physical and psychological health. Our annual global investment in appearance totals close to $200 billion. Many individuals experience stigma, discrimination, andrelated difficulties, such as eating disorders, depression, and risky dieting and cosmetic procedures. Women bear a vastly disproportionate share of these costs, in part because they face standards more exacting than those for men, and pay greater penalties for falling short.The Beauty Bias explores the social, biological, market, and media forces that have contributed to appearance-related problems, as well as feminism's difficulties in confronting them. The book also reviews why it matters. Appearance-related bias infringes fundamental rights, compromises meritprinciples, reinforces debilitating stereotypes, and compounds the disadvantages of race, class, and gender. Yet only one state and a half dozen localities explicitly prohibit such discrimination. The Beauty Bias provides the first systematic survey of how appearance laws work in practice, and acompelling argument for extending their reach. The book offers case histories of invidious discrimination and a plausible legal and political strategy for addressing them. Our prejudices run deep, but we can do far more to promote realistic and healthy images of attractiveness, and to reduce theprice of their pursuit.

    Until you read a lovesick e-mail to your husband . . . that didn’t come from you!Good Riddance is an honest and funny graphic memoir about suffering through and surviving divorce. Cynthia Copeland chronicles the deep pain, confusion, awkwardness, and breakthroughs she experiences in the “new normal” as a wife who’s been deceived, a mom who’s now single, a divorcée who’s dating, and a woman who’s on her own figuring out what she truly wants from her life. Copeland tells her story with an emotional candor and spot-on humor that makes Good Riddance poignant, painful, and hilarious all at once. Praise for Good Riddance: “Copeland’s light-hearted and comical artwork, reminiscent of Roz Chast’s, takes some of the sting out of her sorrows, allowing readers to nod in sympathy or chuckle at her missteps.”  —Publishers Weekly "Even as she tells a story that is sometimes heartbreaking, Copeland has a way of making you laugh out loud.  Full of insight about family, friendship, love, and resilience, Good Riddance is essential reading for anyone who has ever gone through a divorce." -- J. Courtney Sullivan, New York Times bestselling author of Maine and Commencement "Copeland takes us gently through a tough chronicle of divorce with wit, humor and more than a little hope." -- Phoebe Potts, author of Good Eggs "For anyone who's ever been dumped and had to start over, this charming book should be required reading. Grab a glass (ok, bottle) of wine and settle in. There's a light at the end of your tunnel and it starts with Good Riddance." -- Jill Smokler, New York Times bestselling author “Copeland has a charming art style . . . and because of her experience in the self-help/instructional publishing field, she brings a welcome specificity to the subject. Good Riddance isn’t a rant against cheating spouses; it’s more a step-by-step breakdown on how it feels to have a comfortable life upended overnight.” – The A.V. Club “I was struck by a page on which Copeland sends her youngest off for his first overnight in the home of T.J. and his new wife. The author-artist uses just a few words and images to convey an entire world of maternal despair. Copeland and other ‘graphic memoirists’ have me convinced that illustrated books—unlike Trix®—aren’t just for kids anymore.” —AARP.com“Works such as Copeland’s deserve your attention even if you aren’t married or divorced, because the human experience can be entertaining and moving.”—ComicMix