Since women earned the right to vote a little under one hundred years ago, our progress hasn't been the Olympic sprint toward gender equality first wave feminists hoped for, but more of a slow, elderly mall walk (with frequent stops to Cinnabon) over the four hundred million hurdles we still face. Some of these obstacles are obvious-unequal pay, under-representation in government, reproductive restrictions, lack of floor-length mirrors in hotel rooms. But a lot of them are harder to identify. They're the white noise of oppression that we've accepted as lady business as usual, and the patriarchy wants to keep it that way. Erin Gibson has a singular goal-to create a utopian future where women are recognized as humans. In Feminasty -- titled after her nickname on the hit podcast "Throwing Shade" -- she has written a collection of make-you-laugh-until-you-cry essays that expose the hidden rules that make life as a woman unnecessarily hard and deconstructs them in a way that's bold, provocative and hilarious. Whether it's shaming women for having their periods, allowing them into STEM fields but never treating them like they truly belong, or dictating strict rules for how they should dress in every situation, Erin breaks down the organized chaos of old fashioned sexism, intentional and otherwise, that systemically keeps women down.

    She is revered for her fearless honesty in the pursuit of her craft.But Garner also courts controversy, not least because she refuses to be constrained by the rules of literary form. She has never been afraid to write herself into her nonfiction, and many of her own experiences help to shape her fiction. But who is the ‘I’ in Helen Garner’s work?Bernadette Brennan’s A Writing Life is the first full-length study of Garner’s forty years of work, a literary portrait that maps all of her books against the different stages of her life.Brennan has had access to previously unavailable papers in Garner’s archive, and she provides a lively and rigorous reading of the books, journals and correspondence of one of Australia’s most beloved women of letters.

    Anthony, Simone de Beauvoir, W.E.B. Du Bois, Hélène Cixous, Betty Friedan, Charlotte Perkins Gilman, Emma Goldman, Guerrilla Girls, Ding Ling, Audre Lorde, John Stuart Mill, Christine de Pizan, Adrienne Rich, Margaret Sanger, Huda Shaarawi, Sojourner Truth, Mary Wollstonecraft, and Virginia Woolf.The Essential Feminist Reader is the first anthology to present the full scope of feminist history. Prizewinning historian Estelle B. Freedman brings decades of teaching experience and scholarship to her selections, which span more than five centuries. Moving beyond standard texts by English and American thinkers, this collection features primary source material from around the globe, including short works of fiction and drama, political manifestos, and the work of less well-known writers. Freedman’s cogent Introduction assesses the challenges facing feminism, while her accessible, lively commentary contextualizes each piece. The Essential Feminist Reader is a vital addition to feminist scholarship, and an invaluable resource for anyone interested in the history of women.

    In these essays, headed up by editor Merri Lisa Johnson’s “Generation X Does the Sex Wars,” the writers confess their seemingly antifeminist longings and question what role feminist ideals should play in women’s sexuality. In “Spanking and the Single Girl,” Chris Daley wonders whether it’s acceptable to play the submissive role in an S/M exchange. In “Vulvodynia — How Porn Made Me a Woman,” Katinka Hooijer reveals her affection for porn and the inner conflict her predilection inspires. Sex toy store owner Sarah Smith declares a “dildo revolution” — for women and men, gay and straight — in her essay of the same name. Whatever the angle, the authors all champion a sex-positive feminism.

    Once the watchwords of feminism, these terms have now been co-opted by a society that sells women an airbrushed, highly sexualised and increasingly narrow vision of femininity. While the opportunities available to women may have expanded, the ambitions of many young girls are in reality limited by a culture that sees women's sexual allure as their only passport to success. At the same time we are encouraged to believe that the inequality we observe all around us is born of innate biological differences rather than social factors. Drawing on a wealth of research and personal interviews, Natasha Walter, author of the groundbreaking THE NEW FEMINISM and one of Britain's most incisive cultural commentators, gives us a straight-talking, passionate and important book that makes us look afresh at women and girls, at sexism and femininity, today.

    She goes on to deftly synthesize the work of Freud, Marx, de Beauvoir, and Engels to create a cogent argument for feminist revolution. Identifying women as a caste, she declares that they must seize the means of reproduction for as long as women (and only women) are required to bear and rear children, they will be singled out as inferior. Ultimately she presents feminism as the key radical ideology, the missing link between Marx and Freud, uniting their visions of the political and the personal. In the wake of recent headlines bemoaning women's squandered fertility and the ongoing debate over the appropriate role of genetics in the future of humanity, The Dialectic of Sex is revealed as remarkably relevant to today's society, a testament to Shulamith Firestone's startlingly prescient vision.

    A problem those around me wanted to fix.’‘We have all felt that uncanny sensation that someone is watching us.’‘The diagnosis helped but it didn’t fix everything.’‘Don’t fear the labels.’One in five Australians have a disability. And disability presents itself in many ways. Yet disabled people are still underrepresented in the media and in literature.Growing Up Disabled in Australia is the fifth book in the highly acclaimed, bestselling Growing Up series. It includes interviews with prominent Australians such as Senator Jordon Steele-John and Paralympian Isis Holt, poetry and graphic art, as well as more than 40 original pieces by writers with a disability or chronic illness.Contributors include Dion Beasley, Astrid Edwards, Jessica Walton, Carly-Jay Metcalfe, Gayle Kennedy and El Gibbs.

    She also examines overlooked communities—including Native American, Muslim, transgender, and more—and their ongoing struggles for social change. With “intellectually smart and emotionally intelligent” (Patrisse Cullors, New York Times bestselling author and Black Lives Matter cofounder) writing, Beck meticulously documents how elitism and racial prejudice have driven the narrative of feminist discourse. Blending pop culture, primary historical research, and first-hand storytelling, she shows us how we have shut women out of the movement, and what we can do to correct our course for a new generation. Combining a scholar’s understanding with hard data and razor-sharp cultural commentary, White Feminism “is a rousing blueprint for a more inclusive ‘new era of feminism’” (The Boston Globe).

    Comprising a range of voices from both within and outside the academy, this collection draws from traditional feminisms, postmodern feminism, queer theory, and sex radicalism. It stretches the boundaries of contemporary feminism, holding accountable both traditional feminism for stigmatizing sex workers, and also the sex industry for its sexist practices.

    But an all-star lineup of American feminists here says, "It's not that simple." In a history of proposals and policies on welfare, Wall Street, crime and policing, immigration, international health, and war, Clinton has advanced ideas and laws that have actually hurt women--and restricted the powerful idea of feminism itself. From leading feminist figures like Laura Flanders, Moe Tkacik and Medea Benjamin to a new generation of young women writers and thinkers, this book restores to feminism its revolutionary meaning and outlines how truly robust feminist policies could transform the United States and its relation to the world. Includes essays from prominent feminist writers Liza Featherstone, Laura Flanders, Moe Tkacik, Medea Benjamin, Frances Fox Piven and Fred Block, Donna Murch, Kathleen Geier, Yasmin Nair, Megan Erickson, Tressie McMillan Cotom, Catherine Liu, Amber A'Lee, Magpie Corvid, Belén Fernández, Zillah Eisenstein, and others.

    Her work rocked the foundations of the literary canon by castigating time-honored classics for their use of sex to degrade women.

    Ingrid Sischy on Nicole Kidman. Jacqueline Woodson on Lena Waithe. Leslie Bennetts on Michelle Obama. And two Maureens (Orth and Dowd) on two Tinas (Turner and Fey). Vanity Fair's Women on Women features a selection of the best profiles, essays, and columns on female subjects written by female contributors to the magazine over the past thirty-five years.From the viewpoint of the female gaze come penetrating profiles on everyone from Gloria Steinem to Princess Diana to Whoopi Goldberg to essays on workplace sexual harassment (by Bethany McLean) to a post-#MeToo reassessment of the Clinton scandal (by Monica Lewinsky). Many of these pieces constitute the first draft of a larger cultural narrative. They tell a singular story about female icons and identity over the last four decades--and about the magazine as it has evolved under the editorial direction of Tina Brown, Graydon Carter, and now Radhika Jones, who has written a compelling introduction.When Vanity Fair's inaugural editor, Frank Crowninshield, took the helm of the magazine in 1914, his mission statement declared, "We hereby announce ourselves as determined and bigoted feminists." Under Jones's leadership, Vanity Fair continues the publication's proud tradition of highlighting women's voices--and all the many ways they define our culture.

    But they all made a significant contribution to the cultural and intellectual history of America and ultimately changed the course of the twentieth century, in spite of the men who often undervalued or dismissed their work. These ten women—Dorothy Parker, Rebecca West, Hannah Arendt, Mary McCarthy, Susan Sontag, Pauline Kael, Joan Didion, Nora Ephron, Renata Adler, and Janet Malcolm—are united by what Dean calls “sharpness,” the ability to cut to the quick with precision of thought and wit. Sharp is a vibrant depiction of the intellectual beau monde of twentieth-century New York, where gossip-filled parties at night gave out to literary slugging-matches in the pages of the Partisan Review or the New York Review of Books. It is also a passionate portrayal of how these women asserted themselves through their writing in a climate where women were treated with extreme condescension by the male-dominated cultural establishment. Mixing biography, literary criticism, and cultural history, Sharp is a celebration of this group of extraordinary women, an engaging introduction to their works, and a testament to how anyone who feels powerless can claim the mantle of writer, and, perhaps, change the world.

    Feminism’s success is down to complicated, contradictory, imperfect women, who fought each other as well as fighting for equal rights. Helen Lewis argues that too many of these pioneers have been whitewashed or forgotten in our modern search for feel-good, inspirational heroines. It’s time to reclaim the history of feminism as a history of difficult women.In this book, you’ll meet the working-class suffragettes who advocated bombings and arson; the princess who discovered why so many women were having bad sex; the pioneer of the refuge movement who became a men’s rights activist; the ‘striker in a sari’ who terrified Margaret Thatcher; the wronged Victorian wife who definitely wasn’t sleeping with the prime minister; and the lesbian politician who outraged the country. Taking the story up to the present with the twenty-first-century campaign for abortion services, Helen Lewis reveals the unvarnished – and unfinished – history of women’s rights.Drawing on archival research and interviews, Difficult Women is a funny, fearless and sometimes shocking narrative history, which shows why the feminist movement has succeeded – and what it should do next. The battle is difficult, and we must be difficult too.

    Rosie Waterland has never been cool. Growing up in housing commission, Rosie was cursed with a near perfect, beautiful older sister who dressed like Mariah Carey on a Best & Less budget while Rosie was still struggling with various toilet mishaps. She soon realised that she was the Doug Pitt to her sister's Brad, and that cool was not going to be her currency in this life. But that was only one of the problems Rosie faced. With two addicts for parents, she grew up amidst rehab stays, AA meetings, overdoses, narrow escapes from drug dealers and a merry-go-round of dodgy boyfriends in her mother's life. Rosie watched as her dad passed out/was arrested/vomited, and had to talk her mum out of killing herself. As an adult, trying to come to grips with her less than conventional childhood, Rosie navigated her way through eating disorders, nude acting roles, mental health issues and awkward Tinder dates. Then she had an epiphany: to stop pretending to be who she wasn't and embrace her true self - a girl who loved drinking wine in her underpants on Sunday nights - and become an Anti-Cool Girl. An irrepressible, blackly comic memoir, Rosie Waterland's story is a clarion call for Anti-Cool Girls everywhere. 'If Augusten Burroughs and Lena Dunham abandoned their child in an Australian housing estate, she'd write this heartbreaking, hilarious book. It made me laugh uproariously, then feel terrible for her, then laugh all over again. Sorry, Rosie.' Dominic Knight, The Chaser 'Hilarious, wise, gutsy, clear-eyed, devastating and uplifting. It's a marvel.' Richard Glover