Unspeakable Things is a book that is eye-opening not only in the critique it provides, but also in the revolutionary alternatives it imagines.

     Stretching between these figures is a cast of artists, writers, and scientists--mostly women, mostly queer--whose public contribution has risen out of their unclassifiable and often heartbreaking private relationships to change the way we understand, experience, and appreciate the universe. Among them are the astronomer Maria Mitchell, who paved the way for women in science; the sculptor Harriet Hosmer, who did the same in art; the journalist and literary critic Margaret Fuller, who sparked the feminist movement; and the poet Emily Dickinson.Emanating from these lives are larger questions about the measure of a good life and what it means to leave a lasting mark of betterment on an imperfect world: Are achievement and acclaim enough for happiness? Is genius? Is love? Weaving through the narrative is a set of peripheral figures--Ralph Waldo Emerson, Charles Darwin, Elizabeth Barrett Browning, Herman Melville, Frederick Douglass, Nathaniel Hawthorne, and Walt Whitman--and a tapestry of themes spanning music, feminism, the history of science, the rise and decline of religion, and how the intersection of astronomy, poetry, and Transcendentalist philosophy fomented the environmental movement.

    Bombs, death threats and murder became a regular part of the day job. Working right at the heart of the conflict, police officers were often caught in the middle – heroes to some, villains to others.Now, for the first time, the men and women who policed the Troubles tell their own stories in their own words. Covering all aspects of police work, from handling informants and conducting interviews with notorious criminals to dealing with the aftermath of tragic bombings, these candid, moving and sometimes blackly comic stories show the unpredictable, brutal and surreal world in which the RUC operated.As a former police officer, Colin Breen has unparalleled access to former RUC, Special Branch and CID officers who have never spoken out before. Their stories reveal the mayhem and madness that officers dealt with every day; the psychological and personal toll of the job; and the camaraderie – and the whiskey – that helped them to cope.Raw, unsettling and frank, A Force Like No Other tells the real story of the RUC.

    Raised in a segregated Alabama mining camp, she eventually would become a renowned Indo-Tibetan scholar and professor of religion at Wesleyan University. Along the way, she took part in an armed takeover of a Cornell University building during a black student protest, marched with Martin Luther King, Jr. in Birmingham, and, ultimately, found peace within a Tibetan Buddhist monastery. Hers is a deeply personal journey of racial and spiritual healing that "will move anyone who is compelled by the examined life." (Publishers Weekly, starred review) "Jan Willis's honest, lucid, mindful, and heartful account of her amazing life thus far, its struggles and woundings, its triumphs and joys, is certainly the roar of a lioness of truth-awakening, empowering, inspiring! Listen to it with pride and pleasure!" (Robert Thurman, author of Inner Revolution) "Willis writes frankly about family, race, spirituality, and finding grace among life's most difficult challenges. Dreaming Me is more honest and fascinating than anything I've read in a long time." (David Pesci, author of Amistad) "Intensely felt...highly personal...A moving story that aims to reconcile the experiences of faith and racism." (Kirkus Reviews)

    From Brooklyn to Madison to Ethiopia, Eleanor's slow trek toward a kind of autonomy after her laptop (and her data) are stolen, and the narrator's struggle for authority as she wrestles with her novel and a very famous critic's opinion of it, form a series of intersections of experience, exposure, and self-knowledge, occuring on axes of both will and happenstance: not just the backdrop but the material of the work at hand.

    Reyita’s voice is at once dignified, warm, defiant, strong, poetic, principled, and intelligent. Her story—as told to and recorded by her daughter Daisy Castillo—begins in Africa with her own grandmother’s abduction by slave-traders and continues through a century of experiences with prejudice, struggle, and change in Cuba for Reyita and her numerous family members. Sensitive to and deeply knowledgeable of the systemic causes and consequences of poverty, Reyita’s testimony considers the impact of slavery on succeeding generations, her mother’s internalized racism, and Cuba’s residual discrimination. The humiliation and poverty inflicted on the black Cuban community as well as her decision to marry a white man to ensure a higher standard of living form the basis of other chapters. Reyita actively participated in the life of the community—often caring for the children of prostitutes along with her own eight children and giving herbal medicine and “spiritualist” guidance to ill or troubled neighbors. She describes her growing resistance, over five decades of marriage, to her husband’s sexism and negativity. Strong-willed and frank about her sexuality as well as her religious and political convictions, Reyita recounts joining the revolutionary movement in the face of her husband’s stern objections, a decision that added significant political purpose to her life. At book’s end, Reyita radiates gratification that her 118 descendants have many different hues of skin, enjoy a variety of professions, and—“most importantly”—are free of racial prejudice.

    Published to commemorate the centenary of the death of the suffragette Emily Wilding Davison, who was dragged under King George V's horse during the Derby and thus sustained fatal injuries, this fascinating book uses anecdotes and accounts by both famous and hitherto lesser known suffragettes and suffragists to explore how the voice of women came to be heard throughout the land in the pursuit of equal votes for females. Using diary extracts and letters, the main protagonists of the women's movement are brought back to life as Lucinda Dickens Hawksley explores how they were portrayed in literature and art as well as the media reports of the day.

    In Women & Power, she traces the origins of this misogyny to its ancient roots, examining the pitfalls of gender and the ways that history has mistreated strong women since time immemorial. As far back as Homer’s Odyssey, Beard shows, women have been prohibited from leadership roles in civic life, public speech being defined as inherently male. From Medusa to Philomela (whose tongue was cut out), from Hillary Clinton to Elizabeth Warren (who was told to sit down), Beard draws illuminating parallels between our cultural assumptions about women’s relationship to power—and how powerful women provide a necessary example for all women who must resist being vacuumed into a male template. With personal reflections on her own online experiences with sexism, Beard asks: If women aren’t perceived to be within the structure of power, isn’t it power itself we need to redefine? And how many more centuries should we be expected to wait?

    The semi-autobiographical book is divided into two parts and takes place between two countries; Part I, “is a cloud a living thing?”, takes place during the Author’s tumultueuse teen years with tropical Florida as a backdrop. Part II, “Inside my Shell”, explores themes of transformation as the Author creates a new life in Paris, France. ​The poems in this collection explore the surreal rollercoaster of youth, the performance of identity, being an outsider and the tension between romantic idealism and the dystopic world in which the author finds herself. Her approach to her work as a visual artist is mirrored in her poetry style, which is accompanied by all original illustrations by the Author.

    For this new edition, Jeannie Oakes has added a new Preface and a new final chapter in which she discusses the “tracking wars” of the last twenty years, wars in which Keeping Track has played a central role.From reviews of the first edition:“Should be read by anyone who wishes to improve schools.”—M. Donald Thomas, American School Board Journal“[This] engaging [book] . . . has had an influence on educational thought and policy that few works of social science ever achieve.”—Tom Loveless in The Tracking Wars“Should be read by teachers, administrators, school board members, and parents.”—Georgia Lewis, Childhood Education“Valuable. . . . No one interested in the topic can afford not to attend to it.”—Kenneth A. Strike, Teachers College Record

    Although verbal learning offers a powerful tool for humans, this book explores ways of going beyond the purely verbal. An alternative to purely verbal presentations is to use multimedia presentations in which people learn from both words and pictures--a situation the author calls multimedia learning. Multimedia encyclopedias have become the latest addition to students' reference tools, and the world wide web is full of messages that combine words and pictures. This book summarizes ten years of research aimed at realizing the promise of multimedia learning.

    Amy Gentry argues that these violent aesthetic responses to Amos's performance, both positive and negative, are organized around disgust-the disgust that women are taught to feel, not only for their own bodies, but for their taste in music. Released in 1996, Amos's third album, Boys for Pele, represents the height of Amos's willingness to explore the ugly qualities that make all of her music, even her more conventionally beautiful albums, so uncomfortably, and so wonderfully, strange. Using a blend of memoir, criticism, and aesthetic theory, Gentry argues that the aesthetics of disgust are useful for thinking in a broader way about women's experience of all art forms.

    In the 1970s, Pollack had excelled as one of Yale’s first two women to earn a bachelor of science degree in physics. But, isolated, lacking in confidence, and starved for encouragement, she abandoned her lifelong dream of becoming a theoretical physicist. Years later, she thought back on her experiences and wondered what had changed in the intervening decades, and what challenges remained. Based on six years of interviewing dozens of teachers and students and reviewing studies on gender bias, The Only Woman in the Room is an illuminating exploration of the cultural, social, psychological, and institutional barriers confronting women in the STEM disciplines. Pollack brings to light the struggles that women in the sciences are often hesitant to admit and provides hope that changing attitudes and behaviors can bring more women into fields in which they remain, to this day, seriously underrepresented.Eileen Pollack is the author of the novels Breaking and Entering (a New York Times Editor’s Choice selection) and Paradise, New York, as well as two collections of short fiction, an award-winning book of nonfiction, and two creative-nonfiction textbooks. Her work has appeared in Best American Essays and Best American Short Stories. She is a professor on the faculty of the Helen Zell MFA Program in Creative Writing at the University of Michigan. She divides her time between Manhattan and Ann Arbor, Michigan.

    However, that's not to say that the Sumerians, Victorians, and every civilization in between and beyond have not tried, wielding their most formidable weapon: the law. At any given point in time, some forms of sex were condoned while others were punished mercilessly. Jump forward or backward a century or two (and often far less than that), and the harmless fun of one time period becomes the gravest crime in another. Sex and Punishment tells the story of the struggle throughout the millennia to regulate the most powerful engine of human behavior.Writer and lawyer Eric Berkowitz uses flesh-and-blood cases—much flesh and even more blood—to evoke the entire sweep of Western sex law, from the savage impalement of an Ancient Mesopotamian adulteress to the imprisonment of Oscar Wilde in 1895 for "gross indecency." The cast of Sex and Punishment is as varied as the forms taken by human desire itself: royal mistresses, gay charioteers, medieval transvestites, lonely goat-lovers, prostitutes of all stripes, London rent boys. Each of them had forbidden sex, and each was judged—and justice, as Berkowitz shows, rarely had much to do with it. With the light touch of a natural storyteller, Berkowitz spins these tales and more, going behind closed doors to reveal the essential history of human desire.

    A young black girl longing for the blue eyes of white baby dolls spirals into inferiority and confusion. A friendship falls apart over a disputed memory. An ex-slave is haunted by a lonely, rebukeful ghost, bent on bringing their past home. Strange and unexpected, yet always stirring, Morrison’s writing on race sinks us deep into the heart and mind of our troubled humanity.Includes selections from the books Song of Solomon, The Bluest Eye, Beloved by Toni MorrisonVINTAGE MINIS: GREAT MINDS. BIG IDEAS. LITTLE BOOKS.A series of short books by the world’s greatest writers on the experiences that make us humanFor the full list of books visit vintageminis.co.ukAlso in the Vintage Minis series:Sisters by Louisa May AlcottLove by Jeanette WintersonBabies by Anne EnrightLanguage by Xiaolu Guo