Some even call him the Grandfather of Goth.But who was this man, who lived with over twenty thousand books and six cats, who roomed with Frank O'Hara at Harvard, and was known--in the late 1940s, no less--to traipse around in full-length fur coats, clanking bracelets, and an Edwardian beard? An eccentric, a gregarious recluse, an enigmatic auteur of whimsically morbid masterpieces, yes but who was the real Edward Gorey behind the Oscar Wildean pose?He published over a hundred books and illustrated works by Samuel Beckett, T.S. Eliot, Edward Lear, John Updike, Charles Dickens, Hilaire Belloc, Muriel Spark, Bram Stoker, Gilbert & Sullivan, and others. At the same time, he was a deeply complicated and conflicted individual, a man whose art reflected his obsessions with the disquieting and the darkly hilarious.Based on newly uncovered correspondence and interviews with personalities as diverse as John Ashbery, Donald Hall, Lemony Snicket, Neil Gaiman, and Anna Sui, Born to be Posthumous draws back the curtain on the eccentric genius and mysterious life of Edward Gorey.

    A member of the first astronaut class to include women, she broke through a quarter-century of white male fighter jocks when NASA chose her for the seventh shuttle mission, cracking the celestial ceiling and inspiring several generations of women.After a second flight, Ride served on the panels investigating the Challenger explosion and the Columbia disintegration that killed all aboard. In both instances she faulted NASA's rush to meet mission deadlines and its organizational failures. She cofounded a company promoting science and education for children, especially girls.Sherr also writes about Ride's scrupulously guarded personal life-she kept her sexual orientation private-with exclusive access to Ride's partner, her former husband, her family, and countless friends and colleagues. Sherr draws from Ride's diaries, files, and letters. This is a rich biography of a fascinating woman whose life intersected with revolutionary social and scientific changes in America. Sherr's revealing portrait is warm and admiring but unsparing. It makes this extraordinarily talented and bold woman, an inspiration to millions, come alive.

    Yet for her, headline events were only the backdrop to a less obvious but more enduring drama: the daily life of Muslim women. Nine Parts of Desire is the story of Brooks' intrepid journey toward an understanding of the women behind the veils, and of the often contradictory political, religious, and cultural forces that shape their lives. Defying our stereotypes about the Muslim world, Brooks' acute analysis of the world's fastest growing religion deftly illustrates how Islam's holiest texts have been misused to justify repression of women, and how male pride and power have warped the original message of a once liberating faith.

    Traversing past and present, Belonging charts a cyclical journey in which hooks moves from place to place, from country to city and back again, only to end where she began--her old Kentucky home. hooks has written provocatively about race, gender, and class; and in this book she turns her attention to focus on issues of land and land ownership. Reflecting on the fact that 90% of all black people lived in the agrarian South before mass migration to northern cities in the early 1900s, she writes about black farmers, about black folks who have been committed both in the past and in the present to local food production, to being organic, and to finding solace in nature. Naturally, it would be impossible to contemplate these issues without thinking about the politics of race and class. Reflecting on the racism that continues to find expression in the world of real estate, she writes about segregation in housing and economic racialized zoning. In these critical essays, hooks finds surprising connections that link the environment and sustainability to the politics of race and class that reach far beyond Kentucky.With characteristic insight and honesty, Belonging offers a remarkable vision of a world where all people--wherever they may call home--can live fully and well, where everyone can belong.

    Inspired by activist and writer Rebecca Walker, they speak out, challenging many of their own assumptions about the women's movement and demanding that readers recognize a new relationship between the personal and the political.Black and white, male and female, gay and straight, they fearlessly describe their liberation from the feminist ideals that conflict with the reality of who they are, expose shocking secrets, and acknowledge long-hidden accommodations and anomalies.

    Meera Shah, Chief medical officer of Planned Parenthood Hudson Peconic, what she did, she would tell them she was a doctor and leave it at that. But when she started to be direct about her work as an abortion provider an interesting thing started to happen: one by one, people would confide that they'd had an abortion themselves. The refrain was often the same: You're the only one I've told.  This book collects these stories as they've been told to Shah to humanize abortion and to combat myths that persist in the discourse that surrounds it. A wide range of ages, races, socioeconomic factors, and experiences shows that abortion always occurs in a unique context.   Today, a healthcare issue that's so precious and foundational to reproductive, social, and economic freedom for millions of people is exploited by politicians who lack understanding or compassion about the context in which abortion occurs. Stories have the power to break down stigmas and help us to empathize with those whose experiences are unlike our own.  A portion of proceeds will be donated to promote reproductive health access.

    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

     She writes of making up her mind at a young age to become a country music star, knowing then that her feelings and crushes on girls were “sinful” and hoping and praying that she would somehow be “fixed.” (“Dear God, please don’t let me be gay. I promise not to lie. I promise not to steal. I promise to always believe in you . . . Please take it away.”) We see her, high school homecoming queen, heading out on her own at seventeen and landing a job as a featured vocalist on the Ozark Jubilee (the show that started Brenda Lee, Red Foley, and Porter Wagoner), being cast in Country Music U.S.A., doing four live shows a day, and—after only a few months in Nashville—her dream coming true, performing on the stage of the Grand Ole Opry . . .  She describes writing and singing her own songs for producers who’d discovered and recorded the likes of Reba McEntire, Shania Twain, and Toby Keith, who heard in her music something special and signed her to a record contract, releasing her first album and sending her out on the road on her first bus tour . . . She writes of sacrificing all for a shot at success that would come a couple of years later with her first hit single, “Shut Up And Drive” . . . her songs (from her fourth album, Single White Female) climbing the Billboard chart for twenty-nine weeks, hitting the #1 spot . . .   She writes about the friends she made along the way—Vince Gill, Brad Paisley, and others—writing songs, recording and touring together, some of the friendships developing into romantic attachments that did not end happily . . . Keeping the truth of who she was clutched deep inside, trying to ignore it in a world she longed to be a part of—and now was—a world in which country music stars had never been, could not be, openly gay . . . She writes of the very real prospect of losing everything she’d worked so hard to create . . . doing her best to have a real life—her best not good enough . . .  And in the face of everything she did to keep herself afloat, she writes about how the vortex of success and hiding who she was took its toll: her life, a tangled mess she didn’t see coming, didn’t want to; and, finally, finding the guts to untangle herself from the image of the country music star she’d become, an image steeped in long-standing ideals and notions about who—and what—a country artist is, and what their fans expect them to be . . . I am a songwriter,” she writes. “I am a singer of my songs—and I have a story to tell. As I’ve traveled this path that has delivered me to where I am today, my monument of thanks, paying honor to God, remains. I will do all I can with what I have been given . . .”  Like Me is fearless, inspiring, true.

    Arrested in 1940 for sitting in the whites-only section of a Virginia bus, Murray propelled that life-defining event into a Howard law degree and a fight against “Jane Crow” sexism. Her legal brilliance was pivotal to the overturning of Plessy v. Ferguson, the success of Brown v. Board of Education, and the Supreme Court’s recognition that the equal protection clause applies to women; it also connected her with such progressive leaders as Eleanor Roosevelt, Thurgood Marshall, Betty Friedan, and Ruth Bader Ginsberg. Now Murray is finally getting long-deserved recognition: the first African American woman to receive a doctorate of law at Yale, her name graces one of the university’s new colleges. Handsomely republished with a new introduction, Murray’s remarkable memoir takes its rightful place among the great civil rights autobiographies of the twentieth century.

    The project began with a grievance, the grievance of a daughter whose parent had absconded from her life. I was in pursuit of a scofflaw, an artful dodger who had skipped out on so many things—obligation, affection, culpability, contrition. I was preparing an indictment, amassing discovery for a trial. But somewhere along the line, the prosecutor became a witness.”So begins Susan Faludi’s extraordinary inquiry into the meaning of identity in the modern world and in her own haunted family saga. When the feminist writer learned that her 76-year-old father—long estranged and living in Hungary—had undergone sex reassignment surgery, that investigation would turn personal and urgent. How was this new parent who identified as “a complete woman now” connected to the silent, explosive, and ultimately violent father she had known, the photographer who’d built his career on the alteration of images?Faludi chases that mystery into the recesses of her suburban childhood and her father’s many previous incarnations: American dad, Alpine mountaineer, swashbuckling adventurer in the Amazon outback, Jewish fugitive in Holocaust Budapest. When the author travels to Hungary to reunite with her father, she drops into a labyrinth of dark histories and dangerous politics in a country hell-bent on repressing its past and constructing a fanciful—and virulent—nationhood. The search for identity that has transfixed our century was proving as treacherous for nations as for individuals.Faludi’s struggle to come to grips with her father’s metamorphosis self takes her across borders—historical, political, religious, sexual--to bring her face to face with the question of the age: Is identity something you “choose,” or is it the very thing you can’t escape?

    Editors Danielle Barnhart and Iris Mahan have drawn on their profound knowledge of the poetry scene to put together an extraordinary list of poets taking a feminist stance against the new authority. What began as an informal collaboration of like-minded poets—to be released as a handbound chapbook—has grown into something far more substantial and ambitious: a fully fledged anthology of women’s resistance, with a portion of proceeds supporting Planned Parenthood and the Center for Reproductive Rights.Representing the complexity and diversity of contemporary womanhood and bolstering the fight against racism, sexism, and violence, this collection unites powerful new writers, performers, and activists with established poets. Contributors include Elizabeth Acevedo, Sandra Beasley, Jericho Brown, Mahogany L. Browne, Danielle Chapman, Tyehimba Jess, Kimberly Johnson, Jacqueline Jones LaMon, Maureen N. McLane, Joyce Peseroff, Mary Ruefle, Trish Salah, Patricia Smith, Anne Waldman, and Rachel Zucker.

    In her adolescence, she was a religious radical, melting her brother’s boy band cassettes in the oven because music was haram: forbidden by Islamic law. But what a difference an education can make. By her twenties she was a computer security engineer, one of few women working in a desert compound that resembled suburban America. That’s when the Saudi kingdom’s contradictions became too much to bear: she was labeled a slut for chatting with male colleagues, her teenage brother chaperoned her on a business trip, and while she kept a car in her garage, she was forbidden from driving down city streets behind the wheel.Daring to Drive is the fiercely intimate memoir of an accidental activist, a powerfully vivid story of a young Muslim woman who stood up to a kingdom of men—and won. Writing on the cusp of history, Manal offers a rare glimpse into the lives of women in Saudi Arabia today. Her memoir is a remarkable celebration of resilience in the face of tyranny, the extraordinary power of education and female solidarity, and the difficulties, absurdities, and joys of making your voice heard.

    Profiles of Victoria Woodhull, Elizabeth Cady Stanton, and Susan B. Anthony provide insights into the origins of the movement, while reflections from Betty Friedan, Gloria Steinem, Bella Abzug, Geraldine Ferraro, and others reveal the passion and dedication required to maintain progress in the continuing struggle for women’s equality. © 2012 HighBridge Audio

    In Happy Fat, comedian Sofie Hagen shares how she removed fatphobic influences from her daily life and found self-acceptance in a world where judgement and discrimination are rife.From shame and sex to airplane seats, love and getting stuck in public toilets, Sofie provides practical tips for readers – drawing wisdom from other Fat Liberation champions along the way.Part memoir, part social commentary, Happy Fat is a funny, angry and impassioned look at taking up space in a culture that is desperate to reduce.

    Susan Wicklund chronicles her emotional and dramatic twenty-year career on the front lines of the abortion war. Growing up in working class, rural Wisconsin, Wicklund had her own painful abortion at a young age. It was not until she became a doctor that she realized how many women shared her ordeal of an unwanted pregnancy—and how hidden this common experience remains. This is the story of Susan's love for a profession that means listening to women and helping them through one of the most pivotal and controversial events in their lives. Hers is also a calling that means sleeping on planes and commuting between clinics in different states—and that requires her to wear a bulletproof vest and to carry a .38 caliber revolver. This is also the story of the women whom Susan serves, women whose options are increasingly limited.Through these intimate, complicated, and inspiring accounts, Wicklund reveals the truth about the women's clinics that anti-abortion activists portray as little more than slaughterhouses for the unborn. As we enter the most fevered political fight over abortion America has ever seen, this raw and powerful memoir shows us what is at stake.