The myth of female frailty, with its roots in nineteenth-century medicine and misogyny, has had a damaging effect on women's health, social status, and physical safety. It is Dowling's controversial thesis that women succumb to societal pressures to appear weak in order to seem more "feminine."The Frailty Myth presents new evidence that girls are weaned from the use of their bodies even before they begin school. By adolescence, their strength and aerobic powers have started to decline unless the girls are exercising vigorously--and most aren't. By sixteen, they have already lost bone density and turned themselves into prime candidates for osteoporosis. They have also been deprived of motor stimulation that is essential for brain growth.Yet as breakthroughs among elite women athletes grow more and more astounding, it begins to appear that strength and physical skill--for all women--is only a matter of learning and training. Men don't have a monopoly on physical prowess; when women and men are matched in size and level of training, the strength gap closes. In some areas, women are actually equipped to outperform men, due partly to differences in body structure, and partly to the newly discovered strengthening benefits of estrogen.Drawing on extensive research in motor development, performance assessment, sports physi-ology, and endocrinology, Dowling presents an astonishing picture of the new physical woman. And she creates a powerful argument that true equality isn't possible until women learn how to stand up for themselves--physically.

    In lively and provocative prose, Cowan explains how the modern conveniences—washing machines, white flour, vacuums, commercial cotton—seemed at first to offer working-class women middle-class standards of comfort. Over time, however, it became clear that these gadgets and gizmos mainly replaced work previously conducted by men, children, and servants. Instead of living lives of leisure, middle-class women found themselves struggling to keep up with ever higher standards of cleanliness.

    As author Jody Raphael reveals in Rape Is Rape, the more acquaintance rape is reported and taken seriously by prosecutors, judges, and juries, the louder the clamor of rape denial becomes.Through firsthand interviews with victims, medical and judicial records, social media analysis, and statistics from government agencies, Rape Is Rape exposes the tactics used by the deniers, a group that includes conservatives and right-wing Christians as well as some controversial feminists. The personal stories of young acquaintance rape victims whom Raphael interviewed demonstrate how assaults on their credibility, buttressed by claims of low prevalence, prevent many from holding their rapists accountable, enabling them to rape others with impunity.Rape Is Rape is an exposé of those using rape denial to further their political agendas, and it is a call to action to protect the rights of women and girls, making it safe for victims to come forward, and end the acquaintance rape crisis. A resources section is included for those seeking help, advice, or hoping to get involved.

    Now, in this funny and necessary book, he turns round to look at men with a clear eye and ask, what sort of men would make the world a better place, for everyone?What would happen if we rethought the old, macho, outdated version of manhood, and embraced a different idea of what makes a man? Apart from giving up the coronary-inducing stress of always being 'right' and the vast new wardrobe options, the real benefit might be that a newly fitted masculinity will allow men to have better relationships - and that's happiness, right?Grayson Perry admits he's not immune from the stereotypes himself - as the psychoanalysts say, 'if you spot it, you've got it' - and his thoughts on everything from power to physical appearance, from emotions to a brand new Manifesto for Men, are shot through with honesty, tenderness and the belief that, for everyone to benefit, upgrading masculinity has to be something men decide to do themselves. They have nothing to lose but their hang-ups.

    But is same-sex marriage, improved media visibility and corporate endorsement all it’s cracked up to be? At what cost does this acceptance come? And who is getting left behind, particularly in parts of the world where LGBTQ+ rights aren’t so advanced?Combining intrepid journalism with her own personal experience, Amelia Abraham searches for the answers to these urgent challenges, as well as the broader question of what it means to be queer in 2019. With curiosity, good humour and disarming openness, Amelia takes the reader on a thought-provoking and entertaining journey. Join her as she cries at the first same-sex marriage in Britain, loses herself in the world’s biggest drag convention in L.A., marches at Pride parades across Europe, visits both a transgender model agency and the Anti-Violence Project in New York to understand the extremes of trans life today, parties in the clubs of Turkey’s underground LGBTQ+ scene, and meets a genderless family in progressive Stockholm.

    It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist.Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O'Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future.In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

    Focusing on the “orientation” aspect of “sexual orientation” and the “orient” in “orientalism,” Ahmed examines what it means for bodies to be situated in space and time. Bodies take shape as they move through the world directing themselves toward or away from objects and others. Being “orientated” means feeling at home, knowing where one stands, or having certain objects within reach. Orientations affect what is proximate to the body or what can be reached. A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.Ahmed proposes that a queer phenomenology might investigate not only how the concept of orientation is informed by phenomenology but also the orientation of phenomenology itself. Thus she reflects on the significance of the objects that appear—and those that do not—as signs of orientation in classic phenomenological texts such as Husserl’s Ideas. In developing a queer model of orientations, she combines readings of phenomenological texts—by Husserl, Heidegger, Merleau-Ponty, and Fanon—with insights drawn from queer studies, feminist theory, critical race theory, Marxism, and psychoanalysis. Queer Phenomenology points queer theory in bold new directions.

    Misogyny encompasses the Church, witch hunts, sexual theory, Nazism, pro-life campaigners, and finally, today's developing world, where women are increasingly and disproportionately at risk because of radicalized religious beliefs, famine, war, and disease. Extensively researched, highly readable and provocative, this book chronicles an ancient, pervasive and enduring injustice. The questions it poses deal with the fundamentals of human existence — sex, love, violence — that have shaped the lives of humans throughout history, and ultimately limn an abuse of human rights on a nearly unthinkable scale.

    In poetic, nuanced prose she charts how unchecked risk-taking eventually gave way to a course of self-destruction. But as she recounts crossing over the very boundaries that she set for her own safety, she never plays the victim. In fact, the glory of this memoir is Melissa’s ability to illuminate the strange and powerful truths that she learned as she found her way out of a hell of her own making. Rest assured; the reader will emerge from the journey more or less unscathed.

    In lucid, persuasive prose, Brownmiller has created a definitive, devastating work of lasting social importance.Chosen by THE NEW YORK TIMES BOOK REVIEW as One of the Outstanding Books of the Year

    Now a new generation of brilliant, outspoken women of color is speaking to the concerns of a new feminism, and their place in it. Daisy Hernandez of Ms. magazine and poet Bushra Rehman have collected a diverse, lively group of emerging writers who speak to their experience—to the strength and rigidity of community and religion, to borders and divisions, both internal and external—and address issues that take feminism into the twenty-first century. One writer describes herself as a “mixed brown girl, Sri-Lankan and New England mill-town white trash,” and clearly delineates the organizing differences between whites and women of color: “We do not kick ass the way the white girls do, in meetings of NOW or riot grrl. For us, it’s all about family.” A Korean-American woman struggles to create her own identity in a traditional community: “Yam-ja-neh means nice, sweet, compliant. I’ve heard it used many times by my parents’ friends who don’t know shit about me.” An Arab-American feminist deconstructs the “quaint vision” of Middle-Eastern women with which most Americans feel comfortable. This impressive array of first-person accounts adds a much-needed fresh dimension to the ongoing dialogue between race and gender, and gives voice to the women who are creating and shaping the feminism of the future.

    So says the Marquis de Sade, philosopher and pornographer. His virtuous Justine, who keeps to the rules, is rewarded with rape and humiliation; his Juliette, Justine's triumphantly monstrous antithesis, viciously exploits her sexuality.With brilliance and wit, Angela Carter takes on these outrageous figments of de Sade's extreme imagination and transforms them into symbols of our time: The Hollywood sex goddesses, mothers and daughters, pornography, even the sacred shrines of sex and marriage lie devastatingly exposed before our eyes.Author Bio: Angela Carter (1940-1992) was best known for her subversive short stories, including her most famous collection, The Bloody Chamber. Carter translated the fairy tales of Charles Perrault, and wrote the screenplay for Neil Jordan's 1984 film, The Company of Wolves, based on her short story.

    Includes photos and tributes to Lorde written after her death in 1992."Grief, terror, courage, the passion for survival and for more than survival, are here in the searchings of a great poet." —Adrienne Rich"This book teaches me that with one breast or none, I am still me." —Alice Walker"The forthrightness and ferocity with which Audre Lorde greeted every social injustice is in full force in this courageous exploration." —Amazon.com

    Caroline Knapp addresses the following question: How does a woman know, and then honour, what it is she wants in a culture bent on shaping, defining and controlling women and their desires? She uses her own experiences as a powerful exploration of this issue.

    It tells the astonishing story of sex in the West from the ancients to the moderns in a precise account of developments in reproductive anatomy and physiology. We cannot fail to recognize the players in Thomas Laqueur's story--the human sexual organs and pleasures, food, blood, semen, egg, sperm--but we will be amazed at the plots into which they have been woven by scientists, political activists, literary figures, and theorists of every stripe.Laqueur begins with the question of why, in the late eighteenth century, woman's orgasm came to be regarded as irrelevant to conception, and he then proceeds to retrace the dramatic changes in Western views of sexual characteristics over two millennia. Along the way, two "master plots" emerge. In the one-sex story, woman is an imperfect version of man, and her anatomy and physiology are construed accordingly: the vagina is seen as an interior penis, the womb as a scrotum, the ovaries as testicles. The body is thus a representation, not the foundation, of social gender. The second plot tends to dominate post-Enlightenment thinking while the one-sex model is firmly rooted in classical learning. The two-sex story says that the body determines gender differences, that woman is the opposite of man with incommensurably different organs, functions, and feelings. The two plots overlap; neither ever holds a monopoly. Science may establish many new facts, but even so, Laqueur argues, science was only providing a new way of speaking, a rhetoric and not a key to female liberation or to social progress. Making Sex ends with Freud, who denied the neurological evidence to insist that, as a girl becomes a woman, the locus of her sexual pleasure shifts from the clitoris to the vagina; she becomes what culture demands despite, not because of, the body. Turning Freud's famous dictum around, Laqueur posits that destiny is anatomy. Sex, in other words, is an artifice.This is a powerful story, written with verve and a keen sense of telling detail (be it technically rigorous or scabrously fanciful). Making Sex will stimulate thought, whether argument or surprised agreement, in a wide range of readers.