In Click, editors Courtney E. Martin and J. Courtney Sullivan bring us a range of women—including Jessica Valenti, Amy Richards, Shelby Knox, Winter Miller, and Jennifer Baumgardner—who share stories about how that moment took shape for them. Sometimes emotional, sometimes hilarious, this collection gives young women who already identify with the feminist movement the opportunity to be heard—and it welcomes into the fold those new to the still-developing story of feminism.

    Structured around the forty questions Luiselli translates and asks undocumented Latin-American children facing deportation, Tell Me How It Ends (an expansion of her 2016 Freeman's essay of the same name) humanizes these young migrants and highlights the contradiction of the idea of America as a fiction for immigrants with the reality of racism and fear both here and back home."

    At the same time, she can't shake the fact that she is the daughter of two back-to-the-land hippies who taught her to love nature and eat vegetables. Ambivalent about repeating her parents' disastrous mistakes, yet drawn to the idea of backyard self-sufficiency, Carpenter decided that it might be possible to have it both ways: a homegrown vegetable plot as well as museums, bars, concerts, and a twenty-four-hour convenience mart mere minutes away. Especially when she moved to a ramshackle house in inner city Oakland and discovered a weed-choked, garbage-strewn abandoned lot next door. She closed her eyes and pictured heirloom tomatoes, a beehive, and a chicken coop.What started out as a few egg-laying chickens led to turkeys, geese, and ducks. Soon, some rabbits joined the fun, then two three-hundred-pound pigs. And no, these charming and eccentric animals weren't pets; she was a farmer, not a zookeeper. Novella was raising these animals for dinner. Novella Carpenter's corner of downtown Oakland is populated by unforgettable characters. Lana (anal spelled backward, she reminds us) runs a speakeasy across the street and refuses to hurt even a fly, let alone condone raising turkeys for Thanksgiving. Bobby, the homeless man who collects cars and car parts just outside the farm, is an invaluable neighborhood concierge. The turkeys, Harold and Maude, tend to escape on a daily basis to cavort with the prostitutes hanging around just off the highway nearby. Every day on this strange and beautiful farm, urban meets rural in the most surprising ways.For anyone who has ever grown herbs on their windowsill, tomatoes on their fire escape, or obsessed over the offerings at the local farmers' market, Carpenter's story will capture your heart. And if you've ever considered leaving it all behind to become a farmer outside the city limits, or looked at the abandoned lot next door with a gleam in your eye, consider this both a cautionary tale and a full-throated call to action. Farm City is an unforgettably charming memoir, full of hilarious moments, fascinating farmers' tips, and a great deal of heart. It is also a moving meditation on urban life versus the natural world and what we have given up to live the way we do.(jacket)

    A self-confessed workaholic, she regularly put 'knife before life', knowing it was all going to be worth it because it would lead to her longed-for career.But if the punishing hours in surgery weren't hard enough, she also faced challenges as a young female surgeon navigating a male-dominated specialty. She was regularly left to carry out complex procedures without senior surgeons' oversight; she was called all sorts of things, from 'emotional' to 'too confident'; and she was expected to work a relentless on-call roster - sometimes seventy hours a week or more - to prove herself.Eventually it was too much and Yumiko quit.Emotional Female is her account of what it was like to train in the Australian public hospital system, and what made her walk away.Yumiko Kadota is a voice for her generation when it comes to burnout and finding the resilience to rebuild after suffering a physical, emotional and existential breakdown. This is a brave, honest and unflinching work from a major new talent.

    What It Is demonstrates a tried-and-true creative method that is playful, powerful, and accessible to anyone with an inquisitive wish to write or to remember. Composed of completely new material, each page of Barry’s first Drawn & Quarterly book is a full-color collage that is not only a gentle guide to this process but an invigorating example of exactly what it is: “The ordinary is extraordinary.”

    She was awed by her aunts and uncles and cousins, but haunted by the secrets of the family and the unspoken, untold stories of the barrio--even as she tried to find her own voice in the sea of language around her, written and spoken, English and Spanish, bodies and books, Western art and sacred altars. Her family became her private pantheon, a gathering circle of powerful orisha-like women with tragic real-world wounds, and she vowed to tell their stories--but first she'd have to get off the stairs and join the dance. She'd have to find her language.Weaving together Hudes's love of books with the stories of her family, the lessons of North Philly with those of Yale, this is an inspired exploration of home, memory, and belonging--narrated by an obsessed girl who fought to become an artist so she could capture the world she loved in all its wild and delicate beauty.

    For more than a year and a half she ventured into the world as Ned, with an ever-present five o'clock shadow, a crew cut, wire-rim glasses, and her own size 11 1/2 shoes—a perfect disguise that enabled her to observe the world of men as an insider. The result is a sympathetic, shrewd, and thrilling tour de force of immersion journalism that's destined to challenge preconceptions and attract enormous attention. With her buddies on the bowling league she enjoyed the rough and rewarding embrace of male camaraderie undetectable to an outsider. A stint in a high-octane sales job taught her the gut-wrenching pressures endured by men who would do anything to succeed. She frequented sex clubs, dated women hungry for love but bitter about men, and infiltrated all-male communities as hermetically sealed as a men's therapy group, and even a monastery. Narrated in her utterly captivating prose style and with exquisite insight, humor, empathy, nuance, and at great personal cost, Norah uses her intimate firsthand experience to explore the many remarkable mysteries of gender identity as well as who men are apart from and in relation to women. Far from becoming bitter or outraged, Vincent ended her journey astounded—and exhausted—by the rigid codes and rituals of masculinity. Having gone where no woman (who wasn't an aspiring or actual transsexual) has gone for any significant length of time, let alone eighteen months, Norah Vincent's surprising account is an enthralling reading experience and a revelatory piece of anecdotally based gender analysis that is sure to spark fierce and fascinating conversation.

    Wells to Sandra Bland and Black Lives Matter, black women freedom fighters have braved violence, scorn, despair, and isolation in order to lodge their protests. In A Bound Woman Is a Dangerous Thing, DaMaris Hill honors their experiences with at times harrowing, at times hopeful responses to her heroes, illustrated with black-and-white photographs throughout.For black American women, the experience of being bound has taken many forms: from the bondage of slavery to the Reconstruction-era criminalization of women; from the brutal constraints of Jim Crow to our own era’s prison industrial complex, where between 1980 and 2014, the number of incarcerated women increased by 700%.* For those women who lived and died resisting the dehumanization of confinement--physical, social, intellectual--the threat of being bound was real, constant, and lethal.In A Bound Woman Is a Dangerous Thing, Hill presents bitter, unflinching history that artfully captures the personas of these captivating, bound yet unbridled African-American women. Hill's passionate odes to Zora Neale Hurston, Lucille Clifton, Fannie Lou Hamer, Grace Jones, Eartha Kitt, and others also celebrate the modern-day inheritors of their load and light, binding history, author, and reader in an essential legacy of struggle.*(The Sentencing Project)

    Without you, there is no us. It is a chilling scene, but gradually Suki Kim, too, learns the tune and, without noticing, begins to hum it. It is 2011, and all universities in North Korea have been shut down for an entire year, the students sent to construction fields - except for the 270 students at Pyongyang University of Science and Technology (PUST), a walled compound where portraits of Kim Il-sung and Kim Jong-il look on impassively from the walls of every room, and where Suki has accepted a job teaching English. Over the next six months, she will eat three meals a day with her young charges and struggle to teach them to write, all under the watchful eye of the regime. Life at PUST is lonely and claustrophobic, especially for Suki, whose letters are read by censors and who must hide her notes and photographs not only from her minders but from her colleagues - evangelical Christian missionaries who don't know or choose to ignore that Suki doesn't share their faith. She is mystified by how easily her students lie, unnerved by their obedience to the regime. To them, everything in North Korea is the best, the tallest, the most delicious, the envy of all nations. Still, she cannot help but love them - their boyish enthusiasm, their eagerness to please, the flashes of curiosity that have not yet been extinguished. As the weeks pass, she begins to hint at the existence of a world beyond their own - at such exotic activities as surfing the Internet or traveling freely and, more dangerously, at electoral democracy and other ideas forbidden in a country where defectors risk torture and execution. The students in turn offer Suki tantalizing glimpses into their lives, from their thoughts on how to impress girls to their disappointment that soccer games are only televised when the North Korean team wins. Then Kim Jong-il dies, leaving the students devastated, and leading Suki to question whether the gulf between her world and theirs can ever be bridged.Without You, There Is No Us offers a moving and incalculably rare glimpse of life in the world's most unknowable country, and at the privileged young men she calls "soldiers and slaves."

    Dawn Davies is in the third category. A six-foot-tall divorcee, she isn’t chatty, couldn’t care less about anyone’s potty training progress, doesn’t care to share her own children’s milestones with people who don’t love them. But even if she has never fit in with other moms, she has raised three children with her own particular brand of fierce, unflagging love. In stories that cut to the quick, we see Davies grow from a young girl who moves to a new town every couple of years; to a misfit teenager who finds solace in a local music scene; to an adrift twenty-something who summons inner strength as she holds the hand of a dying stranger; to a woman dealing with difficult pregnancies and post-partum depression. And in her powerful titular story, we see Davies struggling with the weight of knowing that her son is deeply troubled.Mothers of Sparta is not a blow-by-blow of Davies’ life but rather an examination of the exquisite and often painful moments of a life, the moments we look back on and say, That one, that one mattered. Straddling the fence between humor and, well…not humor, Davies has written a book about what it’s like to be a woman trying to carve a place for herself in the world, no matter how unyielding the rock can be.

    In addressing a wide range of women’s choices—from using birth control to taking the morning-after pill, from adopting a child to putting a child up for adoption, from having an abortion to bringing a pregnancy to full term—Choice explores the complexities inherent in every reproductive decision.Including twenty-four honest, heartrending essays from established writers such as Francine Prose, Jacquelyn Mitchard, Pam Houston, Ann Hood, and Sarah Messer and emerging talents such as Kimi Faxon Hemingway, Stephanie Anderson, and Ashley Talley, Choice will allow you to truly understand the meaning of the word “choice”—regardless of what side of the debate you stand on.

    The result is "To the End of June," an unforgettable portrait that takes us deep inside the lives of foster children at the critical points in their search for a stable, loving family.The book mirrors the life cycle of a foster child and so begins with the removal of babies and kids from birth families. There's a teenage birth mother in Texas who signs away her parental rights on a napkin only to later reconsider, crushing the hopes of her baby's adoptive parents. Beam then paints an unprecedented portrait of the intricacies of growing up in the system--the back-and-forth with agencies, the shuffling between pre-adoptive homes and group homes, the emotionally charged tug of prospective adoptive parents and the fundamental pull of birth parents. And then what happens as these system-reared kids become adults? Beam closely follows a group of teenagers in New York who are grappling with what aging out will mean for them and meets a woman who has parented eleven kids from the system, almost all over the age of eighteen, and all still in desperate need of a sense of home and belonging.Focusing intensely on a few foster families who are deeply invested in the system's success, "To the End of June" is essential for humanizing and challenging a broken system, while at the same time it is a tribute to resiliency and offers hope for real change.

    It was right after the election of 2016, the day she realized the story she'd tried to steer clear of was the only one she wanted to tell. So she wrote her immigration lawyer's phone number on her hand in Sharpie and embarked on a trip across the country to tell the stories of her fellow undocumented immigrants--and to find the hidden key to her own.Looking beyond the flashpoints of the border or the activism of the DREAMers, Cornejo Villavicencio explores the lives of the undocumented--and the mysteries of her own life. She finds the nation of singular, effervescent characters often reduced in the media to political pawns or nameless laborers. The stories she tells are not deferential or naively inspirational but show the love, magic, heartbreak, insanity, and vulgarity that infuse the day-to-day lives of her subjects.In New York, we meet the undocumented workers who were recruited into the federally funded Ground Zero cleanup after 9/11. In Miami, we enter the ubiquitous botanicas, which offer medicinal herbs and potions to those whose status blocks them from any other healthcare options. In Flint, Michigan, we learn of demands for state ID in order to receive life-saving clean water. In Connecticut, Cornejo Villavicencio, childless by choice, finds family in two teenage girls whose father is in sanctuary. And through it all we see the author grappling with the biggest questions of love, duty, family, and survival.In her incandescent, relentlessly probing voice, Cornejo Villavicencio combines sensitive reporting and powerful personal narratives to bring to light remarkable stories of resilience, madness, and death. Through these stories we come to understand what it truly means to be a stray. An expendable. A hero. An American.

    Blow mines the compelling poetry of the out-of-time African-American Louisiana town where he grew up -- a place where slavery's legacy felt astonishingly close, reverberating in the elders' stories and in the near-constant wash of violence.Blow's attachment to his mother -- a fiercely driven woman with five sons, brass knuckles in her glove box, a job plucking poultry at a nearby factory, a soon-to-be-ex husband, and a love of newspapers and learning -- cannot protect him from secret abuse at the hands of an older cousin. It's damage that triggers years of anger and searing self-questioning.Finally, Blow escapes to a nearby state university, where he joins a black fraternity after a passage of brutal hazing, and then enters a world of racial and sexual privilege that feels like everything he's ever needed and wanted, until he's called upon, himself, to become the one perpetuating the shocking abuse.A powerfully redemptive memoir that both fits the tradition of African-American storytelling from the South, and gives it an indelible new slant.

    This fascinating collection features a star-studded group of contributors—including Margaret Cho, Wendy Liebman, Laurie Graff, and other accomplished, funny women—writing about why they opted out of motherhood. Whether their reasons have to do with courage, apathy, monetary considerations, health issues, or something else entirely, the essays featured in the pages of No Kidding honestly (and humorously) delve into the minds of women who have chosen what they would call a more sane path.Hilarious, compelling, and inspiring, No Kidding reveals a perspective that has too long been hidden, shamed, and silenced—and celebrates an entire population of women who have decided that kids are just not right for them.