If they had, we wouldn't hear the delicious details of how horribly wrong it all went. Like Marrit Ingman's disastrous honeymoon in Maui—and the repercussions of societal pressure for the perfect love escape in paradise. Or of how the entire kitchen of C. Lill Ahrens's new Seoul apartment is literally lost in translation. Or why Ayun Halliday would attempt to climb Mount Kilimanjaro, when her training consisted of drinking beer and rolling her own cigarettes, and her gear cost $14.99 at Sportmart. From Kandahar to Baja to Moscow, these wry, amusing stories capture the comic essence of bad travel, and of the female experience on the road.Roughly translated / C. Lill Ahrens --Kilimanjaro / Ayun Halliday --Hamil's house of fun / Kay Sexton --I could do this in my sleep / Karin Palmquist --Adventure Pete / L.A. Miller --Constipated in Palinuro / Judith Levin --The trail / Erica J. Green --How to travel with a man / Kate Chynoweth --A useful and comprehensive travel dictionary for girls / Buzzy Jackson --Tri training in Russia / Mara Vorhees --Worry warts / Lisa Taggart --In search of Sami / Ann Lombardi --Bigger than France / Spike Gillespie --Souvenirs from Ecuador / Bethany Gumper --Heading South / Samantha Schoech --Knocked off my high horse in New Zealand / Catherine Giayvia --The lion sleeps tonight / Sarah Franklin --No strings attached / Paige Porter --Y2K in Kandahar / Hannah Bloch --Prada on the Plaka / Michele Peterson --Honeymoon in Hell / Marrit Ingman --The occidental tourist / Judy Wolf

    Beginning in 1926, with the publication of the first issue of Amazing Stories, Justine Larbalestier examines science fiction's engagement with questions of femininity, masculinity, sex and sexuality. She traces the debates over the place of women and feminism in science fiction as it emerged in stories, letters and articles in science fiction magazines and fanzines. The book culminates in the story of James Tiptree, Jr. and the eponymous Award. Tiptree was a successful science fiction writer of the 1970s who was later discovered to be a woman. Tiptree's easy acceptance by the male-dominated publishing arena of the time proved that there was no necessary difference in the way men and women wrote, but that there was a real difference in the way they were read.

    Just like our marriage." So opens Meg Wolitzer's compelling and provocative novel The Wife, as Joan Castleman sits beside her husband on their flight to Helsinki. Joan's husband, Joseph Castleman, is "one of those men who own the world...who has no idea how to take care of himself or anyone else, and who derives much of his style from the Dylan Thomas Handbook of Personal Hygiene and Etiquette." He is also one of America's preeminent novelists, about to receive a prestigious international award to honor his accomplishments, and Joan, who has spent forty years subjugating her own literary talents to fan the flames of his career, has finally decided to stop. From this gripping opening, Wolitzer flashes back fifty years to 1950s Smith College and Greenwich Village -- the beginning of the Castleman relationship -- and follows the course of the famous marriage that has brought them to this breaking point, culminating in a shocking ending that outs a carefully kept secret. Wolitzer's most important and ambitious book to date, The Wife is a wise, sharp-eyed, compulsively readable story about a woman forced to confront the sacrifices she's made in order to achieve the life she thought she wanted. But it's also an unusually candid look at the choices all men and women make for themselves, in marriage, work, and life. With her skillful storytelling and pitch-perfect observations, Wolitzer invites intriguing questions about the nature of partnership and the precarious position of an ambitious woman in a man's world.

    Ranging from neo-Conceptual artworks to broader forms of cultural criticism, these rare texts are brought together in this volume for the first time, placing Gordon’s writing within the context of the artist-critics of her generation, including Mike Kelley, John Miller, and Dan Graham. In addressing key stakes within contemporary art, architecture, music, and the performance of male and female gender roles, Gordon provides a prescient analysis of such figures as Kelley, Glenn Branca, Rhys Chatham, Tony Oursler, and Raymond Pettibon, in addition to reflecting on her own position as a woman on stage. The result—Is It My Body?—is a collection that feels as timely now as when it was written. This volume additionally features a conversation between Gordon and Jutta Koether, in which they discuss their collaborations in art, music, and performance.

    To be 'safe', women are told they must allow themselves to be kept under constant surveillance. Their movement is restricted to specific spaces, often homes and hostels. Extreme levels of control are exercised to confine their mobility.But is freedom really incompatible with safety? In this ground-breaking and radical book, Kavita Krishnan locates the personal and political repercussions of erasing women from public spaces. She argues that many real and violent threats to female autonomy are, in fact, hidden in plain sight. Often challenging conventional wisdom, this is a blazing, fiery manifesto for greater equality, political and economic independence, and, most of all, personal freedom.

    Katya Ivanova is a young pilot in a far-flung military academy in the Ural Mountains. From childhood, she’s dreamed of taking to the skies to escape her bleak mountain life. With the Nazis on the march across Europe, she is called on to use her wings to serve her country in its darkest hour. Not even the entreaties of her new husband—a sensitive artist who fears for her safety—can dissuade her from doing her part as a proud daughter of Russia.After years of arduous training, Katya is assigned to the 588th Night Bomber Regiment—one of the only Soviet air units composed entirely of women. The Germans quickly learn to fear nocturnal raids by the daring fliers they call “Night Witches.” But the brutal campaign will exact a bitter toll on Katya and her sisters-in-arms. When the smoke of war clears, nothing will ever be the same—and one of Russia’s most decorated military heroines will face the most agonizing choice of all.

    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.

    Some of you might have already read its previous version released a while ago by another publisher under the title Cat’s Game. The author has completely reworked the book’s first chapters; he’s also already completed Book Two of the series, fully intending to keep the story going. And we fully intend to release the whole series in English.Rogue Merchant is a classic might-and-magic-style LitRPG series with the elements of manapunk. It’s set in the Sphere of the Worlds: a worldwide multiverse comprised of hundreds of worlds, from horrible Infernos ruled by Demon Lords to mechanical worlds inhabited by sentient constructs, and gigantic markets that have sprouted at the crossroads of trade routes.Players use astral ships to travel between worlds, otherwise they have to venture into the perilous underground tunnels of the Endless Paths. Dozens of powerful clans share this delicious pie, scheming or waging wars against each other.The series’ main character is Cat, a wannabe merchant who specializes in procuring in-game valuables to sell them for real money. He is a Free Merchant, which is both his character’s class and his playing style - as well as his preferred problem-solving method. Cat is a cunning trickster who wriggles his way out of trouble thanks to his quick wit and his trading talents. His credo is, “Anyone can be bought provided the price is right”.Cat starts from scratch, using every opportunity to advance his plans. This book is the story of a common trader’s rise to greatness until he becomes the world’s new legend, the most famous merchant in the entire Sphere of the Worlds.The series focuses on the economics of a game world, including various trade methods such as regular and auction trading, as well as social and political interactions between clans and players. Plenty of intrigue and espionage, betrayal, trade wars, besieged castles and epic air battles of flying ships - all this has already made the fantastical universe of Rogue Merchant popular with thousands of Russian readers.Now it’s your turn to enjoy it.

    Animal combines autobiography and evolutionary history to create a funny, fascinating insight into the forces that mould and affect modern women.Animal is entertaining and informative, personal and universal – silly about lots of things and serious about some. It's a laugh-out-loud investigation to help us understand and forgive our animal urges and insecurities.

    Text Me When You Get Home is a personal and sociological perspective - and ultimately a celebration - of the evolution of the modern female friendship.Kayleen Schaefer has experienced (and occasionally, narrowly survived) most every iteration of the modern female friendship. First there was the mean girl cliques of the '90s; then the teenage friendships that revolved around constant discussion of romantic interests and which slowly morphed into Sex and the City spin-offs; the disheartening loneliness of "I'm not like other girls" friendships with only men; the discovery of a platonic soul mate; and finally, the overwhelming love of a supportive female squad (#squad).And over the course of these friendships, Schaefer made a startling discovery: girls make the best friends. And she isn't the only one to realize this. Through interviews with friends, mothers, authors, celebrities, businesswomen, doctors, screenwriters, and historians (a list that includes Judy Blume, Megan Abbott, The Fug Girls, and Kay Cannon), Schaefer shows a remarkable portrait of what female friendships can help modern women accomplish in their social, personal, and work lives.A validation of female friendship unlike any that's ever existed before, this book is a mix of historical research, the author's own personal experience, and conversations about friendships across the country. Everything Schaefer uncovers leads to - and makes the case for - the eventual conclusion that these ties among women are making us (both as individuals and as society as a whole) stronger than ever before.

    For many, filing the suit was a radicalizing act that empowered them to "find themselves" and stake a claim. Others lost their way in a landscape of opportunities, pressures, discouragements, and hostilities they weren't prepared to navigate.With warmth, humor, and perspective, the book also explores why changes in the law did not change everything for today's young women.

    

    Women's Studies. INDICTUS re-imagines various creation myths to bear the invisible and unsaid assaults of women. In doing so, it subverts notions of patriarchal power into a genre that can be demolished and set again. INDICTUS is a Latin word, from which other words like "indict" and "indicate" are born. It translates literally as "to write the unsaid." There is an effort in this book to create the supernatural through the utterance of violence, because jurisdiction fails in real time. That sexual assault can so easily become a science fiction when power is rearranged to serve the victim speaks to the abject lack of control within victims to ever be redeemed. Crimes resolve to misdemeanors. In a world without my abusers, how can I soon become myself? Combining the mythological and autobiographical, this book attempts to indict us, so that the wounded might one day be free.

    A prophetic play from pre-Revolutionary Russia.

    She was selected to take part in the BBC series Blood, Sweat and T-Shirts which saw her live and work alongside Indian factory workers making clothes for the UK High Street. This sparked her series of hugely popular investigations, establishing her as one of BBC3’s most celebrated presenters.Through the course of her documentary making, Stacey has covered a variety of topics, from sex trafficking in Cambodia, to Yazidi women fighting back in Syria. At the core of her reporting are incredible women in extraordinary and scarily ordinary circumstances – from sex workers in Russia, to victims of domestic violence in Honduras. In her first book, On the Front Line with the Women Who Fight Back, Stacey draws on her encounters with these brave and wonderful women, using their experiences as a vehicle to explore issues at the centre of female experience. From gender equality and domestic violence, to sex trafficking and sexual identity, Stacey weaves these global strands together in an exploration of what it is to be women in the world today.