The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    A decision he never regretted. Recognizing her abilities, Malharrao trained the young girl in the art of statesmanship and trusted her enough to leave the administration in her hands when he went on military expeditions. Then, in a series of misfortunes, Ahilya lost her husband, father-in-law and son. The brave queen took charge and turned Malwa into a contented and prosperous kingdom. So much so that even the British, whom she opposed steadfastly, praised her as a truly great ruler.

    methodologically innovative... precise and perceptive and conscious... " --Text and Performance QuarterlyWoman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." --Chandra Talpade MohantyThe idea of Trinh T. Minh-ha is as powerful as her films... formidable... " --Village Voice... its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." --ArtpaperHighly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." --Religious Studies Review

    But this is not the whole story.Shedding light on controversial research and investigating the ferocious gender wars in biology, psychology and anthropology, Angela Saini takes readers on an eye-opening journey to uncover how women are being rediscovered. She explores what these revelations mean for us as individuals and as a society, revealing an alternative view of science in which women are included, rather than excluded.

    Informed by conversations with elected women leaders from all levels, former three-term Vermont Governor and Ambassador to Switzerland Madeleine M. Kunin asks: What difference do women make? What is the worst part of politics, and what is the best part? What inspired these women to run, and how did they prepare themselves for public life? How did they raise money, protect their families' privacy, deal with criticism and attack ads, and work with the good old boys?Kunin's core message is that America needs an infusion of new leadership to better address the major problems of our time. To see how women can achieve that goal, she combines her personal experience in politics; the lessons of past women's movements; the stories of young women today who have new ideas about their role in society; and interviews with a wide range of women in positions of power, looking for clues to their leadership, as well as the effects of gender stereotyping. She interviews Senator Hillary Rodham Clinton, analyzes her campaign, and addresses the question: Is the country ready? Other interviewees include U.S. Representatives Loretta Sanchez, Linda Sanchez, Deborah Pryce, and Tammy Baldwin, and U.S. Senators Susan Collins, Amy Klobuchar, and Carol Moseley Braun, and Governors Kathleen Sibelius and Janet Napolitano.The next generation of women will be inspired to lead by seeing women like Nancy Pelosi wielding the gavel, and seeing themselves reflected in the portraits in statehouses, courthouses, corporate and university boardrooms, and the White House. Pearls, Politics, and Power will help ensure that this inspiration is not soured or deflected, but channeled into successful candidacies by America's leaders of tomorrow. What will it take for women to assume their rightful places in the political corridors of power?

    We didn't expect to. Or intend to. We weren't brought up much differently from the women who came before us, and we rarely identified as feminists, although almost all of us do now. Accidental Feminists is our story. It explores how the world we lived in-with the pill and a regular pay cheque-transformed us and how, almost in spite of ourselves, we revolutionised the world. It is a celebration of grit, adaptability, energy and persistence. It is also a plea for future generations to keep agitating for a better, fairer world.

    In this masterful work, New York Times reporter and two-time Pulitzer Prize finalist Jason DeParle cuts between the mean streets of Milwaukee and the corridors of Washington to produce the definitive account. As improbable as fiction, and equally fast-paced, this classic of literary journalism has captured the acclaim of the Left and Right. At the heart of the story are three cousins, inseparable at the start but launched on differing arcs. Leaving welfare, Angie puts her heart in her work. Jewell bets on an imprisoned man. Opal guards a tragic secret that threatens her kids and her life. DeParle traces back their family history six generations to slavery, and weaves poor people, politicians, reformers, and rogues into a spellbinding epic. At times, the very idea of America seemed on trial: we live in a country where anyone can make it, yet generation after generation some families don't. Washington Post: "Riveting... like a searing novel of urban realism - Theodore Dreiser comes to Milwaukee." Chicago Tribune: "Sweeping scope and dramatic detail worthy of Charles Dickens."

    Nash reframes black feminism's engagement with intersectionality, often celebrated as its primary intellectual and political contribution to feminist theory. Charting the institutional history and contemporary uses of intersectionality in the academy, Nash outlines how women's studies has both elevated intersectionality to the discipline's primary program-building initiative and cast intersectionality as a threat to feminism's coherence. As intersectionality has become a central feminist preoccupation, Nash argues that black feminism has been marked by a single affect—defensiveness—manifested by efforts to police intersectionality's usages and circulations. Nash contends that only by letting go of this deeply alluring protectionist stance, the desire to make property of knowledge, can black feminists reimagine intellectual production in ways that unleash black feminist theory's visionary world-making possibilities.

    '75; Beyond God the Father, '73) has written "an extremist book...on the edge of a culture that is killing itself." Conceived as a radical feminist "Voyage" of woman becoming herself, it's made up of three "Passages." The 1st denounces the reversals & deceptions ("mind pollution") of patriarchal disciplines (including "Godfather" theology) & exuberantly sets out to "discover" the true "Croneology" behind that male mystification. The 2nd, "the most somber part of the Journey," analyzes Goddess-murder (and the murder of the Goddess in every woman) thru the "Sado-Rituals" of five specific historic atrocities: Indian suttee, Chinese footbinding, African genital mutilation, European witchburning, & American gynecology & psychotherapy (gynecology of the mind practiced by the-rapists). Following this "exorcism," the Voyager moves in the 3rd Passage to the Otherworld of lesbian-feminist Spinsters who successfully scorn patriarchal intimidation ("Spooking"), stir "the fire of female friendship" ("Sparking"), &--after a rip-roaring "Unraveling" gotterdammerung--joyously spin on as Revolting Hags. En route Daly purposefully busts out of some traditional (male) forms & language. Altho the word-work of the "living/verbing writer" sometimes gets in the way/weigh of flashing in-sights, a painstaking indictment of scholarly "erasure" of historic events & some bone-chilling facts of women's story, Daly's excursion is bound to inspire Spinsters/Spider Women everywhere & to leave just about everyone else haggard & in-fury-ated.--Kirkus (edited)

    Once a dirty word brushed away with a grimace, "feminist" has been rebranded as a shiny label sported by movie and pop stars, fashion designers, and multi-hyphenate powerhouses like Beyoncé It drives advertising and marketing campaigns for everything from wireless plans to underwear to perfume, presenting what's long been a movement for social justice as just another consumer choice in a vast market. Individual self-actualization is the goal, shopping more often than not the means, and celebrities the mouthpieces. But what does it mean when social change becomes a brand identity? Feminism's splashy arrival at the center of today's media and pop-culture marketplace, after all, hasn't offered solutions to the movement's unfinished business. Planned Parenthood is under sustained attack, women are still paid 77 percent -- or less -- of the man's dollar, and vicious attacks on women, both on- and offline, are utterly routine. Andi Zeisler, a founding editor of Bitch Media, draws on more than twenty years' experience interpreting popular culture in this biting history of how feminism has been co-opted, watered down, and turned into a gyratory media trend. Surveying movies, television, advertising, fashion, and more, Zeisler reveals a media landscape brimming with the language of empowerment, but offering little in the way of transformational change. Witty, fearless, and unflinching, We Were Feminists Once is the story of how we let this happen, and how we can amplify feminism's real purpose and power.

     In Our Women on the Ground, nineteen of these women tell us, in their own words, about what it's like to report on conflicts that are (quite literally) close to home. From sexual harassment on the streets of Cairo to the impossibility of traveling without a male relative in Yemen, their challenges are unique—as are their advantages, such as being able to speak candidly with other women or gain entry to places that an outsider would never be able to access. Their daring, shocking, and heartfelt stories, told here for the first time, shatter stereotypes about Arab women and provide an urgently needed perspective on a part of the world that is often misunderstood. INCLUDING ESSAYS BY: Donna Abu-Nasr, Aida Alami, Hannah Allam, Jane Arraf, Lina Attalah, Nada Bakri, Shamael Elnoor, Zaina Erhaim, Asmaa al-Ghoul, Hind Hassan, Eman Helal, Zeina Karam, Roula Khalaf, Nour Malas, Hwaida Saad, Amira Al-Sharif, Heba Shibani, Lina Sinjab, and Natacha Yazbeck

    The classic account of modern British journalism, now updated and re-issued.