These women broke ground, broke ceilings, and broke molds--includingMaya Angelou - Jane Austen - Ruby Bridges - Rachel Carson - Shirley Chisholm - Marie Curie & Irene Joliot Curie - Isadora Duncan - Amelia Earhart - Artemisia Gentileschi - Grace Hopper - Dolores Huerta - Frida Kahlo - Billie Jean King - Audre Lorde - Wilma Mankiller - Toni Morrison - Michelle Obama - Sandra Day O'Connor - Sally Ride - Eleanor Roosevelt - Margaret Sanger - Sappho - Nina Simone - Gloria Steinem - Kanno Sugako - Harriet Tubman - Mae West - Virginia Woolf - Malala YousafzaiOpen to any page and find daily inspiration and lasting delight.

    A groundbreaking book that elevates underrepresented voices, Can We All Be Feminists? offers the tools and perspective we need to create a 21st century feminism that is truly for all.Including essays by: Soofiya Andry, Gabrielle Bellot, Caitlin Cruz, Nicole Dennis-Benn, Brit Bennett, Evette Dionne, Aisha Gani, Afua Hirsch, Juliet Jacques, Wei Ming Kam, Mariya Karimjee, Eishar Kaur, Emer O’Toole, Frances Ryan, Zoé Samudzi, Charlotte Shane, and Selina Thompson

    Living in this Egyptian Bedouin settlement for extended periods during the following decade, Abu-Lughod took part in family life, with its moments of humor, affection, and anger. She witnessed striking changes, both cultural and economic, and she recorded the stories of the women. Writing Women's Worlds is Abu-Lughod's telling of those stories; it is also about what happens in bringing the stories to others.As the new teller of these tales Abu-Lughod draws on anthropological and feminist insights to construct a critical ethnography. She explores how the telling of these stories challenges the power of anthropological theory to render adequately the lives of others and the way feminist theory appropriates Third World women. Writing Women's Worlds is thus at once a vivid set of stories and a study in the politics of representation.

    The 1940s victory rolls and classic red lip. The sixties beehive and the eighties smokey eye. The list of iconic beauty looks from the last century is almost endless. Now, with this book, you can recreate these classic looks at home.Acclaimed make-up professional Louise Young and leading hairstylist Lou Sheppard bring together their favourite beauty looks of the 20th century to create the ultimate guide to vintage hair and make-up. Arranged by decade and containing beautiful photographs and easy-to-follow step-by-step instructions, this book shows you how the looks are created, and how they still influence current fashions today. This is a must-have for all aspiring make-up artists and hair stylists, or anyone who wants an easy way to achieve a classic look.

    In Who Stole Feminism?, philosophy professor Christina Sommers has exposed how a group of zealots are promoting a dangerous new agenda that sets women against men in all spheres of life.In case after case, Sommers shows how these extremists have propped up their arguments with highly questionable but well-funded research, presenting inflammatory and often inaccurate information and stifling any semblance of free and open scrutiny.

    Never has the role of women in the political world ever been more on the news agenda, and Sophy has interviewed current and former politicians including among others, Nicola Sturgeon, Ruth Davidson, Betty Boothroyd gain exclusive insight into the role women play in politics at the highest level. The book also includes Theresa May's first at-length interview about her journey to becoming Prime Minister. These interviews have revealed the shocking truth about the sexism that is rife among the House of Commons both in the past and today, with sometimes shocking, and sometimes amusing anecdotes revealing how women in Westminster have worked to counter the gender bias. Sophy provides gripping insight into historical and contemporary stories which will fascinate not just those interested in politics but those who want to know more about women's vital role in democracy. From royalty to writers and from class warriors to suffragettes, Sophy tells the story of those who put their lives on the line for equal rights, and those who were the first to set foot inside the chambers of power, bringing together stories that you may think you know, and stories that have recently been discovered to reveal the truth about what it is to be a woman in Westminster. This book is a celebration of the differing ways that women have shaped the political landscape. The book also, importantly, sheds light on the challenges faced by women in government today, telling us the ways that women working in politics battle the sexism that confront them on a daily basis.

    Acclaimed writer and Harvard lecturer Maggie Doherty introduces us to five brilliant friends--poets Anne Sexton and Maxine Kumin, painter Barbara Swan, sculptor Mariana Pineda, and writer Tillie Olsen--who came together at the Institute and would go on to make history. Drawing from their notebooks, letters, lecture recordings, journals, and finished works, Doherty weaves from these women's own voices a moving narrative of friendship, ambition, activism, and art. Beautifully written and urgently told, The Equivalents shows us where we've been--and inspires us to go forward.

    And we pay close attention to how others dress as well; though we may not be able to put what we observe into words, we unconsciously register the information, so that when we meet and converse we have already spoken to one another in a universal tongue.Alison Lurie, the Pulitzer Prize-winning novelist, is our savvy guide and interpreter on this tour through the history of fashion. She provides fascinating insights into how changing sex roles, political upheavals, and class structure have influenced costume. Whether she is describing the enormous amount of clothing worn by early Victorian women or illuminating the significance of the long robes worn by aging men throughout history to connote eminence, her analysis is playful, clever, and always on target.

    Beginning with its first publication as a cautionary tale on the perils of seduction, written in reaction to the licentiousness of the court of Louis XIV, Orenstein traces the many lives the tale has lived since then, from its appearance in modern advertisements for cosmetics and automobiles, the inspiration it brought to poets such as Anne Sexton, and its starring role in pornographic films. In Little Red Riding Hood Uncloaked, Red appears as seductress, hapless victim, riot grrrrl, femme fatale, and even she-wolf, as Orenstein shows how through centuries of different guises, the story has served as a barometer of social and sexual mores pertaining to women. Full of fascinating history, generous wit, and intelligent analysis, Little Red Riding Hood Uncloaked proves that the story of one young girl's trip through the woods continues to be one of our most compelling modern myths.

    Even those who value access to safe, local, nutritious food have largely overlooked the production of fiber, dyes, and the chemistry that forms the backbone of modern textile production. While humans are 100 percent reliant on their second skin, it's common to think little about the biological and human cultural context from which our clothing derives.Almost a decade ago, weaver and natural dyer Rebecca Burgess developed a project focused on wearing clothing made from fiber grown, woven, and sewn within her bioregion of North Central California. As she began to network with ranchers, farmers, and artisans, she discovered that even in her home community there was ample raw material being grown to support a new regional textile economy with deep roots in climate change prevention and soil restoration. A vision for the future came into focus, combining right livelihoods and a textile system based on economic justice and soil carbon enhancing practices. Burgess saw that we could create viable supply chains of clothing that could become the new standard in a world looking to solve the climate crisis.In Fibershed readers will learn how natural plant dyes and fibers such as wool, cotton, hemp, and flax can be grown and processed as part of a scalable, restorative agricultural system. They will also learn about milling and other technical systems needed to make regional textile production possible. Fibershed is a resource for fiber farmers, ranchers, contract grazers, weavers, knitters, slow-fashion entrepreneurs, soil activists, and conscious consumers who want to join or create their own fibershed and topple outdated and toxic systems of exploitation..

    By demystifying the fantasies surrounding cancer, Sontag shows cancer for what it is--just a disease. Cancer, she argues, is not a curse, not a punishment, certainly not an embarrassment and, it is highly curable, if good treatment is followed.Almost a decade later, with the outbreak of a new, stigmatized disease replete with mystifications and punitive metaphors, Sontag wrote a sequel to Illness as Metaphor, extending the argument of the earlier book to the AIDS pandemic.These two essays now published together, Illness as Metaphor and AIDS and Its Metaphors, have been translated into many languages and continue to have an enormous influence on the thinking of medical professionals and, above all, on the lives of many thousands of patients and caregivers.

    Society was centered around women, with their mysterious life-giving powers, and they were honored as incarnations and priestesses of the Great Goddess. Then a transformation occurred, and men thereafter dominated society.Given the universality of patriarchy in recorded history, this vision is understandably appealing for many women. But does it have any basis in fact? And as a myth, does it work for the good of women? Cynthia Eller traces the emergence of the feminist matriarchal myth, explicates its functions, and examines the evidence for and against a matriarchal prehistory. Finally, she explains why this vision of peaceful, woman-centered prehistory is something feminists should be wary of.

    An acclaimed expose that has already helped reform Olympic sports—now updated to reflect the latest developments in women's gymnastics and figure skating—it continues to plead for sanity, safety, and an end to our national obsession: winning at any cost.

    Throughout Europe and America, artists and intellectuals banded together to portray women as static and unindividuated beings who functioned solely in a sexual and reproductive capacity, thus formulating many of the anti-feminine platitudes that today still constrain women's potential. Bram Dijkstra's Idols of Perversity explores the nature and development of turn-of-the-century misogyny in the works of hundreds of writers, artists, and scientists, including Zola, Strindberg, Wedekind, Henry James, Rossetti, Renoir, Moreau, Klimt, Darwin, and Spencer. Dijkstra demonstrates that the most prejudicial aspects of Evolutionary Theory helped to justify this wave of anti-feminine sentiment. The theory claimed that the female of the species could not participate in the great evolutionary process that would guide the intellectual male to his ultimate, predestined role as a disembodied spiritual essence. Darwinists argued that women hindered this process by their willingness to lure men back to a sham paradise of erotic materialism. To protect the male's continued evolution, artists and intellectuals produced a flood of pseudo-scientific tracts, novels, and paintings which warned the world's males of the evils lying beneath the surface elegance of woman's tempting skin. Reproducing hundreds of pictures from the period and including in-depth discussions of such key works as Dracula and Venus in Furs, this fascinating book not only exposes the crucial links between misogyny then and now, but also connects it to the racism and anti-semitism that led to catastrophic genocidal delusions in the first half of the twentieth century. Crossing the conventional boundaries of art history, sociology, the history of scientific theory, and literary analysis, Dijkstra unveils a startling view of a grim and largely one-sided war on women still being fought today.