None linked internal and external change together in a seamless circle of cause and effect, effect and cause. She undertook to write such a book, and ended up transforming herself as well as others. The result of her external plus internal reflection is this bestselling and truly transforming book: part collection of personal stories from her own life and the lives of many others, part revolutionary guide to finding community and inspiration. Steinem finds role models in a very young and uncertain Gandhi as well as unlikely heroes from the streets to history. Revolution from Within addresses the core issues of self-authority and unjust external authority, and argues that the first is necessary to transform the second.

    It was the year the proportion of American women who were married dropped below fifty percent; and the median age of first marriages, which had remained between twenty and twenty-two years old for nearly a century (1890–1980), had risen dramatically to twenty-seven. But over the course of her vast research and more than a hundred interviews with academics and social scientists and prominent single women, Traister discovered a startling truth: The phenomenon of the single woman in America is not a new one. And historically, when women were given options beyond early heterosexual marriage, the results were massive social change—temperance, abolition, secondary education, and more. Today, only twenty percent of Americans are married by age twenty-nine, compared to nearly sixty percent in 1960.

    In this follow-up to Men Explain Things to Me, Rebecca Solnit offers commentary on women who refuse to be silenced, misogynistic violence, the fragile masculinity of the literary canon, the gender binary, the recent history of rape jokes, and much more.

    Since women earned the right to vote a little under one hundred years ago, our progress hasn't been the Olympic sprint toward gender equality first wave feminists hoped for, but more of a slow, elderly mall walk (with frequent stops to Cinnabon) over the four hundred million hurdles we still face. Some of these obstacles are obvious-unequal pay, under-representation in government, reproductive restrictions, lack of floor-length mirrors in hotel rooms. But a lot of them are harder to identify. They're the white noise of oppression that we've accepted as lady business as usual, and the patriarchy wants to keep it that way. Erin Gibson has a singular goal-to create a utopian future where women are recognized as humans. In Feminasty -- titled after her nickname on the hit podcast "Throwing Shade" -- she has written a collection of make-you-laugh-until-you-cry essays that expose the hidden rules that make life as a woman unnecessarily hard and deconstructs them in a way that's bold, provocative and hilarious. Whether it's shaming women for having their periods, allowing them into STEM fields but never treating them like they truly belong, or dictating strict rules for how they should dress in every situation, Erin breaks down the organized chaos of old fashioned sexism, intentional and otherwise, that systemically keeps women down.

    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.

    Now, she takes on one of today’s hottest cultural topics: feminism. Nugent is a proud feminist—and she’s not afraid to say it. From the “scarlet F” thrust upon you if you declare yourself a feminist at a party to how to handle judgmental store clerks when you buy Plan B, You Don’t Have to Like Me skewers a range of cultural issues, and confirms Nugent as a star on the rise.

    Astounded by the response she received and the wide range of stories that came pouring in from all over the world, she quickly realised that the situation was far worse than she'd initially thought. Enough was enough. From being leered at and wolf-whistled on the street, to aggravation in the work place and serious sexual assault, it was clear that sexism had been normalised. Bates decided it was time for change. This bold, jaunty and ultimately intelligent book is the first to give a collective online voice to the protest against sexism. This game changing book is a juggernaut of stories, often shocking, sometimes amusing and always poignant - it is a must read for every inquisitive, no-nonsense modern woman.

    It's not that she's an outcast (she might even be your friend or your wife, or your mother) so much as she's a social variable. Sometimes, she's the life of the party; others, she's the center of gossip. She's the unruly woman, and she's one of the most provocative, powerful forms of womanhood today. There have been unruly women for as long as there have been boundaries of what constitutes acceptable "feminine" behavior, but there's evidence that she's on the rise--more visible and less easily dismissed--than ever before. In Too Fat, Too Slutty, Too Loud, Anne Helen Petersen uses the lens of "unruliness" to explore the ascension of eleven contemporary powerhouses: Serena Williams, Melissa McCarthy, Abbi Jacobson, Ilana Glazer, Nicki Minaj, Kim Kardashian, Hillary Clinton, Caitlyn Jenner, Jennifer Weiner, and Lena Dunham. Petersen explores why the public loves to love (and hate) these controversial figures, each of whom has been conceived as "too" something: too queer, too strong, too honest, too old, too pregnant, too shrill, too much. With its brisk, incisive analysis, Too Fat, Too Slutty, Too Loud will be a conversation-starting book on what makes and breaks celebrity today.

    In the Company of Women profiles over 100 of these influential and creative women from all ages, races, backgrounds, and industries. Chock-full of practical, inspirational advice for those looking to forge their own paths, these interviews detail the keys to success (for example, going with your gut; maintaining meaningful and lasting relationships), highlight the importance of everyday rituals (meditating; creating a daily to-do list), and dispense advice for the next generation of women entrepreneurs and makers (stay true to what you believe in; have patience). The book is rounded out with hundreds of lush, original photographs of the women in their work spaces.

    In this novel about growth and transformation, Lucy, a hard-living, droll, and self-aware young woman, finds herself in strange, new emotional territory and begins sizing up her life by setting the past against the present.She shares the story of her family’s history—including the stunning signature events of one fateful summer when a violent storm results in a freak accident that literally shatters her family. Afterward, the father seemingly disappears and the mother and her daughters move forward on a very different course. It is Lucy’s one treasured memory—a midnight swim with her mother—that reminds her there is grace in her graceless world, a fact that helps her to forgive her mother and, ultimately, let her go.Uplifting but unsentimental, compelling and remarkably moving, Swimming Naked is an unforgettable debut that will resonate with daughters, mothers, and anyone who’s ever searched their past in the hopes of finding a future.

    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."

    The Bitch In the House.Women today have more choices than at any time in history, yet many smart, ambitious, contemporary women are finding themselves angry, dissatisfied, stressed out. Why are they dissatisfied? And what do they really want? These questions form the premise of this passionate, provocative, funny, searingly honest collection of original essays in which twenty-six women writers—ranging in age from twenty-four to sixty-five, single and childless or married with children or four times divorced—invite readers into their lives, minds, and bedrooms to talk about the choices they’ve made, what’s working, and what’s not.With wit and humor, in prose as poetic and powerful as it is blunt and dead-on, these intriguing women offer details of their lives that they’ve never publicly revealed before, candidly sounding off on:• The difficult decisions and compromises of living with lovers, marrying, staying single and having children• The perpetual tug of war between love and work, family and career• The struggle to simultaneously care for ailing parents and a young family• The myth of co-parenting• Dealing with helpless mates and needy toddlers• The constrictions of traditional women’s roles as well as the cliches of feminism• Anger at laid-back live-in lovers content to live off a hardworking woman’s checkbook• Anger at being criticized for one’s weight• Anger directed at their mothers, right and wrong• And–well–more anger...“This book was born out of anger,” begins Cathi Hanauer, but the end result is an intimate sharing of experience that will move, amuse, and enlighten. The Bitch in the House is a perfect companion for your students as they plot a course through the many voices of modern feminism. This is the sound of the collective voice of successful women today-in all their anger, grace, and glory.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    With all the revolutionary zeal, laugh-out-loud humour and intelligence of Laura Bates, Caitlin Moran and Bell Hooks, Emer O'Toole explores what it really means to 'act like a girl'.Being a woman is, largely, about performance - how we dress and modify our bodies, what we say, the roles we play, and how we conform to expectations. Gender stereotypes are still deeply embedded in our society, but Emer O'Toole is on a mission to re-write the old script and bend the rules of gender - and she shows how and why we should all be joining in.With game-changing ideas and laugh-out-loud humour, this book will open your mind and revolutionise the way that you think about gender.

    . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more.Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression.