They pored over magazines that described the dangerous pleasures of corporal punishment. A few had sexual relationships with each other, exchanged rings and vows, willed each other property, and lived together in long-term partnerships described as marriages. But, as Sharon Marcus shows, these women were not seen as gender outlaws. Their desires were fanned by consumer culture, and their friendships and unions were accepted and even encouraged by family, society, and church. Far from being sexless angels defined only by male desires, Victorian women openly enjoyed looking at and even dominating other women. Their friendships helped realize the ideal of companionate love between men and women celebrated by novels, and their unions influenced politicians and social thinkers to reform marriage law.Through a close examination of literature, memoirs, letters, domestic magazines, and political debates, Marcus reveals how relationships between women were a crucial component of femininity. Deeply researched, powerfully argued, and filled with original readings of familiar and surprising sources, Between Women overturns everything we thought we knew about Victorian women and the history of marriage and family life. It offers a new paradigm for theorizing gender and sexuality--not just in the Victorian period, but in our own.

    Leading the reader through the underbelly of the Georgian city via the Gin Craze, detouring through the Empire (with a G&T in hand), to the emergence of cocktail bars in the West End, the story is brought right up to date with the resurgence of class in a glass - the Ginnaissance. As gin has crossed paths with Londoners of all classes and professions over the past three hundred years it has become shorthand for metropolitan glamour and alcoholic squalor in equal measure. In and out of both legality and popularity, gin is a drink that has seen it all. Gin Glorious Gin is quirky, informative, full of famous faces - from Dickens to Churchill, Hogarth to Dr Johnson - and introduces many previously unknown Londoners, hidden from history, who have shaped the city and its signature drink.

    And a very strange, very English obsession. But where did this fixation develop? And what does it tell us about ourselves?In The Art of the English Murder, Lucy Worsley explores this phenomenon in forensic detail, revisiting notorious crimes like the Ratcliff Highway Murders, which caused a nationwide panic in the early nineteenth century, and the case of Frederick and Maria Manning, the suburban couple who were hanged after killing Maria's lover and burying him under their kitchen floor. Our fascination with crimes like these became a form of national entertainment, inspiring novels and plays, prose and paintings, poetry and true-crime journalism. At a point during the birth of modern England, murder entered our national psyche, and it's been a part of us ever since.The Art of the English Murder is a unique exploration of the art of crime and a riveting investigation into the English criminal soul by one of our finest historians.

    There is a dominant father and a socially ambitious mother who adores her son Dennis. When he arrives it is at once clear to the reader why he does not fit in with his smugly conventional family. Then, with the outbreak of war, the tone of the book changes: it focuses on Dennis’s refusal to fight, indeed on his abhorrence of violence; his falling in love with Alan; and his close friendship with Antoinette, who has not realised she is lesbian but is unabashed when she does. Dennis, however, is in agony about being ‘a musical man’ (slang for being gay): ‘Abnormal – perverted – against nature – he could hear the epithets that would be hurled against him. But what had nature been about, in giving him the soul of a woman in the body of a man?’Running through all this is the background of the war. At first everyone thought it would be over by Christmas. Then there were the horrors of 1915. And then conscription started. Month by month one sees what happens to Dennis and the other COs (conscientious objectors) he knows.The book was published by C.W. Daniel, a pacifist publisher, in May 1918. In September the book was banned for being ‘likely to prejudice the recruiting, training, and discipline of persons in his Majesty’s forces.’ Unsold copies were seized and the publisher was fined.

    But her favourite among her books was Consequences (1919), the deeply-felt novel she wrote about the plight of girls given no opportunities apart from marriage.Alex Clare is awkward and oversensitive and gets everything wrong; she refuses to marry the only young man who ‘offers’ and believes there is nothing left for her but to enter a convent. But that is not quite the end of her tragic story. Nor was it for EM Delafield, who also entered a convent for a year; but in her case she was able to find freedom through working as a VAD in an army hospital, ‘which was emancipation of the most delirious kind. It was occupation, it was self-respect.’Like Lytton Strachey’s Eminent Victorians, written at the same time, Consequences is a scream of horror against Victorian values; however, its ironic tone cannot disguise EM Delafield’s deeply compassionate and feminist stance.

    Passionate, witty and moving, the voices of the Lennox sisters reach us with immediacy and power, drawing the reader into their remarkable lives, and making this one of the most enthralling historical narratives to appear for many years

    Despite being repeatedly written off as a political movement that has achieved its aim of female liberation, it has been continually redefined as new generations of women campaign against the gender inequity of their age.In this absorbing book, historian Lucy Delap challenges the simplistic narrative of 'feminist waves' - a sequence of ever more progressive updates ­- showing instead that feminists have been motivated by the specific concerns of their historical moment. Drawing on an extraordinary range of examples from Japan to Russia, Egypt to Germany, Delap explores different feminist projects to show that those who are part of this movement have not always agreed on a single programme. This diverse history of feminism, she argues, can help us better navigate current debates and controversies.A tour de force from an award-winning expert, Feminisms shows that a rich relationship to the past can infuse today's activism with a sense possibility and inspiration.

    In 1942, the Allies were losing, Germany seemed unstoppable, and every able man in England was fighting. Churchill believed Britain was locked in an existential battle and created a secret agency, the Special Operations Executive (SOE), whose spies were trained in everything from demolition to sharp-shooting. Their job, he declared, was "to set Europe ablaze!" But with most men on the frontlines, the SOE did something unprecedented: it recruited women. Thirty-nine women answered the call, leaving their lives and families to become saboteurs in France. Half were caught, and a third did not make it home alive. In D-Day Girls, Sarah Rose draws on recently declassified files, diaries, and oral histories to tell the story of three of these women. There's Odette Sansom, a young mother who feels suffocated by domestic life and sees the war as her ticket out; Lise de Baissac, an unflappable aristocrat with the mind of a natural leader; and Andrée Borrel, the streetwise organizer of the Paris Resistance. Together, they derailed trains, blew up weapons caches, destroyed power and phone lines, and gathered crucial intelligence—laying the groundwork for the D-Day invasion that proved to be the turning point in the war. Stylishly written and rigorously researched, this is an inspiring story for our own moment of resistance, in which women continue to play a vital role.

    Wade In this deeply moving work, Ann Fessler brings to light the lives of hundreds of thousands of young single American women forced to give up their newborn children in the years following World War II and before Roe v. Wade. The Girls Who Went Away tells a story not of wild and carefree sexual liberation, but rather of a devastating double standard that has had punishing long-term effects on these women and on the children they gave up for adoption. Based on Fessler's groundbreaking interviews, it brings to brilliant life these women's voices and the spirit of the time, allowing each to share her own experience in gripping and intimate detail. Today, when the future of the Roe decision and women's reproductive rights stand squarely at the front of a divisive national debate, Fessler brings to the fore a long-overlooked history of single women in the fifties, sixties, and early seventies. In 2002, Fessler, an adoptee herself, traveled the country interviewing women willing to speak publicly about why they relinquished their children. Researching archival records and the political and social climate of the time, she uncovered a story of three decades of women who, under enormous social and family pressure, were coerced or outright forced to give their babies up for adoption. Fessler deftly describes the impossible position in which these women found themselves: as a sexual revolution heated up in the postwar years, birth control was tightly restricted, and abortion proved prohibitively expensive or life endangering. At the same time, a postwar economic boom brought millions of American families into the middle class, exerting its own pressures to conform to a model of family perfection. Caught in the middle, single pregnant women were shunned by family and friends, evicted from schools, sent away to maternity homes to have their children alone, and often treated with cold contempt by doctors, nurses, and clergy. The majority of the women Fessler interviewed have never spoken of their experiences, and most have been haunted by grief and shame their entire adult lives. A searing and important look into a long-overlooked social history, The Girls Who Went Away is their story.

    On the basis of years of research, interviews with dozens of the central figures, and her own personal experience, Evans explores how the political stance of these women was catalyzed and shaped by their sharp disillusionment at a time when their skills as political activists were newly and highly developed, enabling them to join forces to support their own cause.

    Confused and humiliated, Nina did as she was told, and the health officer performed a hasty (and invasive) examination and quickly diagnosed her with gonorrhea. Though Nina insisted she could not possibly have an STI, she was coerced into committing herself to the Bay City Detention Hospital, a facility where she would spend almost three miserable months subjected to hard labor, exploitation, and painful injections of mercury.Nina McCall was one of many women unfairly imprisoned by the United States government throughout the twentieth century. The government locked up tens, probably hundreds, of thousands of women and girls--usually without due process--simply because officials suspected these women were prostitutes, carrying STIs, or just "promiscuous."This discriminatory program, dubbed the "American Plan," lasted from the 1910s into the 1950s, implicating a number of luminaries, including Eleanor Roosevelt, John D. Rockefeller Jr., Earl Warren, and even Eliot Ness, while laying the foundation for the modern system of women's prisons. In some places, vestiges of the Plan lingered into the 1960s and 1970s, and the laws that undergirded it remain on the books to this day.Scott Stern tells the story of this almost forgotten program through the life of Nina McCall. Her story provides crucial insight into the lives of countless other women incarcerated under the American Plan. Stern demonstrates the pain and shame felt by these women and details the multitude of mortifications they endured, both during and after their internment. Yet thousands of incarcerated women rioted, fought back against their oppressors, or burned their detention facilities to the ground; they jumped out of windows or leapt from moving trains or scaled barbed-wire fences in order to escape. And, as Nina McCall did, they sued their captors. In an age of renewed activism surrounding harassment, health care, prisons, women's rights, and the power of the state, this virtually lost chapter of our history is vital reading.

    For that is what it is: the story of a young English girl's growth towards maturity in the 1930s. We see Mary at school in Kensington and on holiday in Somerset; her attempt at drama school; her year in Paris learning dressmaking and getting engaged to the wrong man; her time as a secretary and companion; and her romance with Sam. We chose this book because we wanted to publish a novel like Dusty Answer, I Capture the Castle or The Pursuit of Love, about a girl encountering life and love, which is also funny, readable and perceptive; it is a 'hot-water bottle' novel, one to curl up with on the sofa on a wet Sunday afternoon. But it is more than this. As Harriet Lane remarks in her Preface: 'It is Mariana's artlessness, its enthusiasm, its attention to tiny, telling domestic detail that makes it so appealing to modern readers.' And John Sandoe Books in Sloane Square (an early champion of Persephone Books) commented: 'The contemporary detail is superb - Monica Dickens's descriptions of food and clothes are particularly good - and the characters are observed with vitality and humour. Mariana is written with such verve and exuberance that we would defy any but academics and professional cynics not to enjoy it.'

    In this distinctive, engaging, and simply hilarious view of a period of great upheaval in America, Ephron turns her keen eye and wonderful sense of humor to the media, politics, beauty products, and women's bodies. In the famous "A Few Words About Breasts," for example, she tells us: "If I had had them, I would have been a completely different person. I honestly believe that." Ephron brings her sharp pen to bear on the notable women of the time, and to a series of events ranging from Watergate to the Pillsbury Bake-Off. When it first appeared in 1975, Crazy Salad helped to illuminate a new American era—and helped us to laugh at our times and ourselves. This new edition will delight a fresh generation of readers.Contents:A few words about breasts.--Fantasies.--On never having been a prom queen.--The girls in the office.--Reunion.--Miami.--Vaginal politics.--Bernice Gera, first lady umpire.--Deep throat.--On consciousness-raising.--Dealing with the, uh, problem.--The hurled ashtray.--Truth and consequences.--Baking off.--Crazy ladies: I.--The pig.--Dorothy Parker.--A star is born.--Women in Israel: The myth of liberation.--The littlest Nixon.--Divorce, Maryland style.--Rose Mary Woods: the lady or the tiger?--No, but I read the book.--Crazy ladies: II.--Conundrum.Portions of this book have appeared in Esquire magazine, New York magazine, and Rolling Stone.

    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.

    Organized thematically and with substantial introductions, this is a book for the activist, the student, the too-angry and the not-angry-enough.You'll find:"Dyke Manifesto" by the Lesbian Avengers"Mini-Manual of Individualist Anarchism" by Emile Armand"Intercourse" by Andrea Dworkin"Manifesto of the Erased" by Crystal ZaragozaThe "Ax Tampax Poem Feministo" from the Bloodsisters Project"Cyborg Manifesto" by Donna Haraway"TRASHGiRRRRLLLZZZ" by Elizabeth Broeder"The Manifesto of Apocalyptic Witchcraft" by Peter GreyThe manifesto, feminist scholar Breanne Fahs notes, is always "on unsteady ground," raging and wanting, desiring and disdaining, promoting solidarity or individual pain, all at once. As she notes, we need manifestos in all their urgent rawness and their insistence that we have to act now, that we must face this, that the bleeding edge of rage and defiance is where new ideas are born.