Magazine, Bitch was launched in the mid-nineties as a Xerox-and-staple zine covering the landscape of popular culture from a feminist perspective. Both unabashed in its love for the guilty pleasures of consumer culture and deeply thoughtful about the way the pop landscape reflects and impacts women's lives, Bitch grew to be a popular, full-scale magazine with a readership that stretched worldwide. Today it stands as a touchstone of hip, young feminist thought, looking with both wit and irreverence at the way pop culture informs feminism--and vice versa--and encouraging readers to think critically about the messages lurking behind our favorite television shows, movies, music, books, blogs, and the like. BITCHFest offers an assortment of the most provocative essays, reporting, rants, and raves from the magazine's first ten years, along with new pieces written especially for the collection. Smart, nuanced, cranky, outrageous, and clear-eyed, the anthology covers everything from a 1996 celebration of pre-scandal Martha Stewart to a more recent critical look at the "gayby boom"; from a time line of black women on sitcoms to an analysis of fat suits as the new blackface; from an attempt to fashion a feminist vulgarity to a reclamation of female virginity. It's a recent history of feminist pop-culture critique and an arrow toward feminism's future.

    Picardie's unprecedented research illuminates Chanel’s path from little-known seamstress to the aristocracy of style in this stunning look at the fashion icon, illustrated with more than sixty color and black-and-white images.

    Title VII of the law made it illegal to discriminate “because of sex.” But that simple phrase didn’t mean much until ordinary women began using the law to get justice on the job—and some took their fights all the way to the Supreme Court. Among them were Ida Phillips, denied an assembly line job because she had a preschool-age child; Kim Rawlinson, who fought to become a prison guard—a “man’s job”; Mechelle Vinson, who brought a lawsuit for sexual abuse before “sexual harassment” even had a name; Ann Hopkins, denied partnership at a Big Eight accounting firm because the men in charge thought she needed "a course at charm school”; and most recently, Peggy Young, UPS truck driver, forced to take an unpaid leave while pregnant because she asked for a temporary reprieve from heavy lifting.These unsung heroines’ victories, and those of the other women profiled in Gillian Thomas' Because of Sex, dismantled a “Mad Men” world where women could only hope to play supporting roles; where sexual harassment was “just the way things are”; and where pregnancy meant getting a pink slip.Through first-person accounts and vivid narrative, Because of Sex tells the story of how one law, our highest court, and a few tenacious women changed the American workplace forever.

    Why do three million Quebecers tune in the same absurd sitcom every week? How did they get the nickname "pepsis"? Why does Celine Dion put on a down-home accent when she returns to her home province? For referendum-weary English Canadians, Quebec is an enigma wrapped in a yawn. Taras Grescoe treats the province as an exotic destination. He takes readers onto the shuffleboard courts of Florida, to a francophone country-and-western festival in rural Mauricie, to the café tables of expatriate Quebecers in Paris. He deconstructs a Montreal Canadiens hockey game, explores the stunning diversity of Quebec’s newspapers, and dismantles Bombardier snowmobiles. En route, he meets Mohawk Warriors, Yiddish-speaking French Canadians, and the UFO-obsessed followers of Raël. Informed and incisive, Sacré Blues explores the heart of contemporary Quebec: its love-hate relationship with France and the United States; the dance, theatre, and literary productions celebrated in Europe but little known here; its fears about distinctness on an increasingly uniform continent. Along the way we meet such Quebec residents as the playwright Michel Tremblay and the novelist Neil Bissoondath, Teleglobe CEO Charles Sirois and the arctic explorer Bernard Voyer, the foul-mouthed columnist Pierre Foglia and the esteemed philosopher Charles Taylor. Sacré Blues serves up a spicy, irreverent, inside view of this unique and little-known part of North America. With side orders of poutine, maple syrup, and Vachon snack cakes. And scarcely a mention of Lucien Bouchard.From the Hardcover edition.

    Coyote and Rae Spoon are accomplished, award-winning writers, musicians, and performers; they are also both admitted "gender failures." In their first collaborative book, Ivan and Rae explore and expose their failed attempts at fitting into the gender binary, and how ultimately our expectations and assumptions around traditional gender roles fail us all.Based on their acclaimed 2012 live show that toured across the United States and in Europe, Gender Failure is a poignant collection of autobiographical essays, lyrics, and images documenting Ivan and Rae's personal journeys from gender failure to gender enlightenment. Equal parts hilarious and heartbreaking, it's a book that will touch LGBTQ readers and others, revealing, with candor and insight, that gender comes in more than two sizes.Ivan E. Coyote is the author of six story collections and the award-winning novel Bow Grip, and is co-editor of Persistence: All Ways Butch and Femme. Ivan frequently performs at high schools, universities, and festivals across North America.Rae Spoon is a transgender indie musician whose most recent CD is My Prairie Home, which is also the title of a new National Film Board of Canada documentary about them. Rae's first book, First Spring Grass Fire, was a Lambda Literary Award finalist in 2013.

    She has been called every conceivable name in the book by the media (and authors of unauthorized biographies about her), pilloried for her extravagant lifestyle and sometimes regrettable quotes to the press ("My extravagance knows no bounds," for instance, to Vogue), not to mention her outspoken conservative political views as stated in her weekly newspaper columns around the world. It's no surprise she remains to this day a subject of utter fascination after over four decades in the public eye. But until now, very few people actually know her real story—the break-up of her family when she was a child, her bouts of debilitating depression and other chronic health issues, her thoughts on feminism and #MeToo, her travels with the international jet set and A-list celebrities, and, of course, her unvarnished views on the trial and conviction (since overturned) of Conrad Black and the iron-clad bond they have shared since they were married in 1992.  Whether you are an admirer or critic of Amiel’s, you will be completely engrossed in her operatic life, one that seems ripped from the pages of a scandalous novel. She also distinguishes herself as a woman well ahead of her time—the first female editor of a national newspaper in Canada, she challenged the sexual mores of society while also angering the feminist establishment. She has certainly had many friends and enemies over the years—Henry and Nancy Kissinger, Elton John, Tom Stoppard, David Frost, Anna Wintour, Oscar de la Renta, Margaret Thatcher, Princess Diana, Marie Jose Kravis, to name but a few—and she brings these personalties into the spotlight in this larger-than-life memoir that is sure to cause a sensation with readers everywhere.

    But the poem above is a folk couplet—a landay, an ancient oral and anonymous form created by and for mostly illiterate people: the more than 20 million Pashtun women who span the border between Afghanistan and Pakistan. War, separation, homeland, love—these are the subjects of landays, which are brutal and spare, can be remixed like rap, and are powerful in that they make no attempts to be literary. From Facebook to drone strikes to the songs of the ancient caravans that first brought these poems to Afghanistan thousands of years ago, landays reflect contemporary Pashtun life and the impact of three decades of war. With the U.S. withdrawal in 2014 looming, these are the voices of protest most at risk of being lost when the Americans leave.     After learning the story of a teenage girl who was forbidden to write poems and set herself on fire in protest, the poet Eliza Griswold and the photographer Seamus Murphy journeyed to Afghanistan to learn about these women and to collect their landays. The poems gathered in I Am the Beggar of the World express a collective rage, a lament, a filthy joke, a love of homeland, an aching longing, a call to arms, all of which belie any facile image of a Pashtun woman as nothing but a mute ghost beneath a blue burqa.

    This collection, a meditative extension of that answer, draws from philosophy, art, literature, mythology, anthropology, film, and other fields, as well as Johnson’s personal experience, to consider how our ideas about justice might be expanded beyond vengeance and retribution to include acts of compassion, patience, mercy, and grace. From “Speak Truth to Power,” about the condition of not being believed about rape and assault; to “Goliath,” about the concept of evil; to “Girlhood in a Semi-Barbarous Age,” about the sacred feminine, “ideal woman,” and feminist art, Johnson creates masterful, elaborate, gorgeously written essays that speak incisively about our current era. She grapples with justice and retribution, truth and fairness, and sexual assault and workplace harassment, as well as the broadest societal wrongs: the BP Oil Spill, government malfeasance, police killings. The Reckonings is a powerful and necessary work, ambitious in its scope, which strikes at the heart of our national conversation about the justness of society.

    Its proponents cite ancient Greek and Latin texts to support their claims--arguing that they articulate a model of masculinity that sustained generations but is now under siege.Donna Zuckerberg dives deep into the virtual communities of the far right, where men lament their loss of power and privilege, and strategize about how to reclaim them. She finds, mixed in with weightlifting tips and misogynistic vitriol, the words of the Stoics deployed to support an ideal vision of masculine life. On other sites, pickup artists quote Ovid's Ars Amatoria to justify ignoring women's boundaries. By appropriating the Classics, these men lend a veneer of intellectual authority and ancient wisdom to their project of patriarchal white supremacy. In defense or retaliation, feminists have also taken up the Classics online, to counter the sanctioning of violence against women.Not All Dead White Men reveals that some of the most controversial and consequential debates about the legacy of the ancients are raging not in universities but online.

    All the stories are set in India, but the people in them seem somehow displaced within their own society—a society in transition but a transition that does not come fast enough to help them. Appachana manages to capture the pervasive humor, poignancy, and self-delusion of the lives of the people she observes, but she does so without seeming to pass judgments on them. She focuses on unexpected moments, as if catching her characters off guard, lovingly exposing the fragile surfaces of respectability and convention that are so much a part of every society, but particularly strong in India, with its caste system, gender privileges, and omnipresent bureaucracies.All life seems to be prescribed; these characters bravely or cautiously confront the rules and regulations or finally give in to them resignedly—any small triumphs they achieve are never clear-cut. One of the most unusual aspects of many of the stories is the way in which they are informed by but never ruled by the author's feminism. She never lectures her readers but lets us see for ourselves: a bride caught in a hopeless marriage where she has given up all rights to any life of her own, a hapless college student who is confined to campus for minor infractions just at the time when she had an appointment for an abortion, a young girl who keeps the dark secret of her sister's rape, a woman executive and a digruntled male clerk both trapped in the intricate bureaucracy of their business firm and the roles they must play to survive there. By turns warm, gullible, arrogant and bigoted, all of these characters live their lives amid contradictions and double standards, superstitions and impossible dreams. Appachana's vision is unique, her writing superb. Readers will thank her for allowing them to enter territory that is at once distant and exotic but also familiar and recognizable.

    From the streets of Charlotte, North Carolina, to the segregated courtrooms of the nation’s capital; from the male stronghold of the army where she broke gender and color barriers to the pulpits of churches where women had waited for years for the right to minister—in all these places, Dovey Johnson Roundtree sought justice. At a time when African American attorneys had to leave the courthouses to use the bathroom, Roundtree took on Washington’s white legal establishment and prevailed, winning a 1955 landmark bus desegregation case that would help to dismantle the practice of “separate but equal” and shatter Jim Crow laws. Later, she led the vanguard of women ordained to the ministry in the AME Church in 1961, merging her law practice with her ministry to fight for families and children being destroyed by urban violence. Dovey Roundtree passed away in 2018 at the age of 104. Though her achievements were significant and influential, she remains largely unknown to the American public. Mighty Justice corrects the historical record.

    I cannot forget the eyes of the prisoners, expecting me to do something for them. They are innocent. I have to tell their story, to tell about the darkness they are in. It is so easy to suffocate us with the demons of powerlessness, shame, and guilt. But we aren’t the ones who should feel ashamed. Born in China’s north-western province, Sayragul Sauytbay trained as a doctor before being appointed a senior civil servant. But her life was upended when the Chinese authorities incarcerated her. Her crime: being Kazakh, one of China’s ethnic minorities.The north-western province borders the largest number of foreign nations and is the point in China that is the closest to Europe. In recent years it has become home to over 1,200 penal camps — modern-day gulags that are estimated to house three million members of the Kazakh and Uyghur minorities. Imprisoned solely due to their ethnicity, inmates are subjected to relentless punishment and torture, including being beaten, raped, and used as subjects for medical experiments. The camps represent the greatest systematic incarceration of an entire people since the Third Reich.In prison, Sauytbay was put to work teaching Chinese language, culture, and politics, in the course of which she gained access to secret information that revealed Beijing’s long-term plans to undermine not only its minorities, but democracies around the world. Upon her escape to Europe she was reunited with her family, but still lives under constant threat of reprisal.This rare testimony from the biggest surveillance state in the world reveals not only the full, frightening scope of China’s tyrannical ambitions, but also the resilience and courage of its author.

    Throughout each piece the passion of those engaged in rebuilding this shattered country shines through, a glimmer of optimism and determination so rare in multinational military actions–and so particularly Canadian.In Outside the Wire, award-winning author Kevin Patterson and co-editor Jane Warren have rediscovered the valour and horror of sacrifice in this, the definitive account of the modern Canadian experience of war.

    The brutal police response and their violent tactics trigger an exploration of urban planning and its hidden connections to military strategies. Marshal Bugeaud’s urban warfare tactics in Algeria, Haussmann’s plan for Paris, planning and repression in the New World; theory and personal experience collide into an ambitious and poetic cartoon memoir.Sophie Yanow was born north of San Francisco in 1987. In 2011 she moved to Montreal, and with the Colosse collective published In Situ, her acclaimed autobiographical comics series. She was an invited artist- researcher for the Canadian Center for Architecture’s “C for Condo” workshop, and her work has been exhibited throughout the US and Canada. She lives in Montreal.

    That accident sparked a fire and an apocalyptic explosion that was the largest man-made blast prior to the 1945 dropping of the atomic bomb on Hiroshima. Together with the killer tsunami that followed, the explosion devastated the entire city in the wink of an eye and instantly killed more than two thousand people.While much has been written about the disaster, there is still more to the story, including the investigation of the key figures involved, the histories of the ships that collided and the confluence of circumstances that brought these two vessels together to touch off one of the most tragic man-made disasters of the twentieth century.The Halifax Explosion is a fresh, revealing account that finally answers questions that have lingered for a century: Was the explosion a disaster triggered by simple human error? Was it caused by the negligence of the ships’ pilots or captains? Was it the result of shortcomings in harbour practices and protocols? Or was the blast—as many people at the time insisted—the result of sabotage carried out by wartime German agents?December 6, 2017, marks the centennial of the great Halifax explosion. The Halifax Explosion tells the gripping, as-yet untold story of Canada’s worst disaster—a haunting tale of survival, incredible courage and, ultimately, the triumph of the human spirit.