She startles awake, saying his name. It is always about him: one of her closest high school friends, a boy named Mark. A boy who raped her.When her nightmares worsen, Jeannie decides—after fourteen years of silence—to reach out to Mark. He agrees to talk on the record and meet in person. "It's the least I can do," he says.Jeannie details her friendship with Mark before and after the assault, asking the brave and urgent question: Is it possible for a good person to commit a terrible act? Jeannie interviews Mark, exploring how rape has impacted his life as well as her own. She examines the language surrounding sexual assault and pushes against its confines, contributing to and deepening the #MeToo discussion.Exacting and courageous, Things We Didn't Talk About When I Was a Girl is part memoir, part true crime record, and part testament to the strength of female friendships—a recounting and reckoning that will inspire us to ask harder questions and interrogate our biases. Jeannie Vanasco examines and dismantles long-held myths of victimhood, discovering grace and power in this genre-bending investigation into the trauma of sexual violence.

    They’re also fearful about opening up a dialogue. Not Orenstein. A contributing writer to the New York Times Magazine and the New York Times best-selling author of books like Cinderella Ate My Daughter, Orenstein spoke to psychologists, academics, and other experts in the field and yes, 70 young women, to offer an in-depth picture of “girls and sex” today.

    Too sensitive, or not sensitive enough. Too dowdy or too made-up. Too big or too thin. Sluts or prudes. We are harassed, told we are asking for it, and asked if it would kill us to smile. Yes, yes it would.Contrary to the rhetoric of popular “self-help” and an entire lifetime of being told otherwise, our rage is one of the most important resources we have, our sharpest tool against both personal and political oppression. We’ve been told for so long to bottle up our anger, letting it corrode our bodies and minds in ways we don’t even realize. Yet our anger is a vital instrument, our radar for injustice and a catalyst for change. On the flip side, the societal and cultural belittlement of our anger is a cunning way of limiting and controlling our power.We are so often told to resist our rage or punished for justifiably expressing it, yet how many remarkable achievements in this world would never have gotten off the ground without the kernel of anger that fueled them? Rage Becomes Her makes the case that anger is not what gets in our way, it is our way, sparking a new understanding of one of our core emotions that will give women a liberating sense of why their anger matters and connect them to an entire universe of women no longer interested in making nice at all costs.Following in the footsteps of classic feminist manifestos like The Feminine Mystique and Our Bodies, Ourselves, Rage Becomes Her is an eye-opening book for the twenty-first century woman: an engaging, accessible credo offering us the tools to re-understand our anger and harness its power to create lasting positive change.

    The essays collected in this book reflect some of the commitments and changes during the period that saw the women's movement shift into feminism and the development of feminism's involvement with the politics of representation, psychoanalytic film theory and avant-garde aesthetics.

    Even a hard-rocking punk or orchestral aesthete can’t help cracking a smile or singing along with songs like “Jolene” and “9 to 5.” More than a mere singer or actress, Parton is a true cultural phenomenon, immediately recognizable and beloved for her talent, tinkling laugh, and steel magnolia spirit. She is also the only female star to have her own themed amusement park: Dollywood in Pigeon Forge, Tennessee. Every year thousands of fans flock to Dollywood to celebrate the icon, and Helen Morales is one of those fans. In Pilgrimage to Dollywood, Morales sets out to discover Parton’s Tennessee. Her travels begin at the top celebrity pilgrimage site of Elvis Presley’s Graceland, then take her to Loretta Lynn’s ranch in Hurricane Mills; the Country Music Hall of Fame and the Grand Ole Opry in Nashville; to Sevierville, Gatlinburg, and the Great Smoky Mountains National Park; and finally to Pigeon Forge, home of the “Dolly Homecoming Parade,” featuring the star herself as grand marshall. Morales’s adventure allows her to compare the imaginary Tennessee of Parton’s lyrics with the real Tennessee where the singer grew up, looking at essential connections between country music, the land, and a way of life. It’s also a personal pilgrimage for Morales. Accompanied by her partner, Tony, and their nine-year-old daughter, Athena (who respectively prefer Mozart and Miley Cyrus), Morales, a recent transplant from England, seeks to understand America and American values through the celebrity sites and attractions of Tennessee. This celebration of Dolly and Americana is for anyone with an old country soul who relies on music to help understand the world, and it is guaranteed to make a Dolly Parton fan of anyone who has not yet fallen for her music or charisma.

    It asks what follows when we make our desires and even our own happiness conditional on the happiness of others: “I just want you to be happy”; “I’m happy if you’re happy.” Combining philosophy and feminist cultural studies, Sara Ahmed reveals the affective and moral work performed by the “happiness duty,” the expectation that we will be made happy by taking part in that which is deemed good, and that by being happy ourselves, we will make others happy. Ahmed maintains that happiness is a promise that directs us toward certain life choices and away from others. Happiness is promised to those willing to live their lives in the right way.Ahmed draws on the intellectual history of happiness, from classical accounts of ethics as the good life, through seventeenth-century writings on affect and the passions, eighteenth-century debates on virtue and education, and nineteenth-century utilitarianism. She engages with feminist, antiracist, and queer critics who have shown how happiness is used to justify social oppression, and how challenging oppression causes unhappiness. Reading novels and films including Mrs. Dalloway, The Well of Loneliness, Bend It Like Beckham, and Children of Men, Ahmed considers the plight of the figures who challenge and are challenged by the attribution of happiness to particular objects or social ideals: the feminist killjoy, the unhappy queer, the angry black woman, and the melancholic migrant. Through her readings she raises critical questions about the moral order imposed by the injunction to be happy.

    

    She was repeatedly hospitalized in excruciating pain, but the doctors insisted it was a urinary tract infection and sent her home with antibiotics. Unable to get out of bed, much less attend class, Norman dropped out of college and embarked on what would become a years-long journey to discover what was wrong with her. It wasn't until she took matters into her own hands--securing a job in a hospital and educating herself over lunchtime reading in the medical library--that she found an accurate diagnosis of endometriosis.In Ask Me About My Uterus, Norman describes what it was like to have her pain dismissed, to be told it was all in her head, only to be taken seriously when she was accompanied by a boyfriend who confirmed that her sexual performance was, indeed, compromised. Putting her own trials into a broader historical, sociocultural, and political context, Norman shows that women's bodies have long been the battleground of a never-ending war for power, control, medical knowledge, and truth. It's time to refute the belief that being a woman is a preexisting condition.

    Surprising to those feminists who mistakenly think that biology can only work against women. And surprising to those biologists who incorrectly believe that natural selection operates only on males.In The Woman That Never Evolved we are introduced to our nearest female relatives competitive, independent, sexually assertive primates who have every bit as much at stake in the evolutionary game as their male counterparts do. These females compete among themselves for rank and resources, but will bond together for mutual defense. They risk their lives to protect their young, yet consort with the very male who murdered their offspring when successful reproduction depends upon it. They tolerate other breeding females if food is plentiful, but chase them away when monogamy is the optimal strategy. When promiscuity is an advantage, female primates--like their human cousins--exhibit a sexual appetite that ensures a range of breeding partners. From case after case we are led to the conclusion that the sexually passive, noncompetitive, all-nurturing woman of prevailing myth never could have evolved within the primate order.Yet males are almost universally dominant over females in primate species, and Homo sapiens is no exception. As we see from this book, women are in some ways the most oppressed of all female primates. Sarah Blaffer Hrdy is convinced that to redress sexual inequality in human societies, we must first understand its evolutionary origins. We cannot travel back in time to meet our own remote ancestors, but we can study those surrogates we have--the other living primates. If women --and not biology--are to control their own destiny, they must understand the past and, as this book shows us, the biological legacy they have inherited.

    Moving from the peasant revolts of the late Middle Ages to the witch-hunts and the rise of mechanical philosophy, Federici investigates the capitalist rationalization of social reproduction. She shows how the battle against the rebel body and the conflict between body and mind are essential conditions for the development of labor power and self-ownership, two central principles of modern social organization."It is both a passionate work of memory recovered and a hammer of humanity's agenda." Peter Linebaugh, author of The London Hanged"

    Forty-four writers, dancers, actors, and artists contribute essays, lists, poems, comics, and illustrations about everything from body positivity to romance to gender identity to intersectionality to the greatest girl friendships in fiction. Together, they share diverse perspectives on and insights into what feminism means and what it looks like. Come on in, turn the pages, and be inspired to find your own path to feminism by the awesome individuals in Here We Are.Welcome to one of the most life-changing parties around!

    Originally published in Paris, this is a collection of Hollywood's darkest and best kept secrets from the pen of Kenneth Anger, a former child movie actor who grew up to become one of America's leading underground film-makers.

    . . but the riches found in the overlooked B movies of the time, rolled out wherever they might find an audience, unexpectedly tell an eye-opening story about post-Watergate, post-Vietnam America. Revisiting the films that don't make the Academy Award montages, Charles Taylor finds a treasury many of us have forgotten, movies that in fact “unlock the secrets of the times.”Celebrated film critic Taylor pays homage to the trucker vigilantes, meat magnate pimps, blaxploitation “angel avengers,” and taciturn factory workers of grungy, unartful B films such as Prime Cut, Foxy Brown, and Eyes of Laura Mars. He creates a compelling argument for what matters in moviemaking and brings a pivotal American era vividly to life in all its gritty, melancholy complexity.

    In an inspiring and unusually empowering sequence of stories, ideas and paradoxes, internationally renowned dancer, choreographer and teacher Jonathan Burrows explains how it's possible to navigate a course through this complex process.It is a stunning reflection on a personal practice and professional journey, and draws upon five years' of workshop discussions, led by Burrows.Burrows' open and honest prose gives the reader access to a range of exercises, meditations, principles and ideas on choreography that allow artists and dance-makers to find their own aesthetic process.It is a book for anyone interested in making performance, at whatever level and in whichever style.

    So...why does he do that? You've asked yourself this question again and again. Now you have the chance to see inside the minds of angry and controlling men--and change your life. In Why Does He Do That? you will learn about:The early warning signs of abuse- The nature of abusive thinking- Myths about abusers- Ten abusive personality types- The role of drugs and alcohol- What you can fix, and what you can't- And how to get out of an abusive relationship safelyPrevention Programs, Harvard School of Public Health