Now a new generation of brilliant, outspoken women of color is speaking to the concerns of a new feminism, and their place in it. Daisy Hernandez of Ms. magazine and poet Bushra Rehman have collected a diverse, lively group of emerging writers who speak to their experience—to the strength and rigidity of community and religion, to borders and divisions, both internal and external—and address issues that take feminism into the twenty-first century. One writer describes herself as a “mixed brown girl, Sri-Lankan and New England mill-town white trash,” and clearly delineates the organizing differences between whites and women of color: “We do not kick ass the way the white girls do, in meetings of NOW or riot grrl. For us, it’s all about family.” A Korean-American woman struggles to create her own identity in a traditional community: “Yam-ja-neh means nice, sweet, compliant. I’ve heard it used many times by my parents’ friends who don’t know shit about me.” An Arab-American feminist deconstructs the “quaint vision” of Middle-Eastern women with which most Americans feel comfortable. This impressive array of first-person accounts adds a much-needed fresh dimension to the ongoing dialogue between race and gender, and gives voice to the women who are creating and shaping the feminism of the future.

    “Anchored by data and aromatized by anecdotes, [Rosin] concludes that women are gaining the upper hand." – The Washington Post Men have been the dominant sex since, well, the dawn of mankind. But Hanna Rosin was the first to notice that this long-held truth is, astonishingly, no longer true. Today, by almost every measure, women are no longer gaining on men: They have pulled decisively ahead. And “the end of men”—the title of Rosin’s Atlantic cover story on the subject—has entered the lexicon as dramatically as Betty Friedan’s “feminine mystique,” Simone de Beauvoir’s “second sex,” Susan Faludi’s “backlash,” and Naomi Wolf’s “beauty myth” once did. In this landmark book, Rosin reveals how our current state of affairs is radically shifting the power dynamics between men and women at every level of society, with profound implications for marriage, sex, children, work, and more. With wide-ranging curiosity and insight unhampered by assumptions or ideology, Rosin shows how the radically different ways men and women today earn, learn, spend, couple up—even kill—has turned the big picture upside down. And in The End of Men she helps us see how, regardless of gender, we can adapt to the new reality and channel it for a better future.

    But in the modern world, the breast is changing. Breasts are getting bigger, arriving earlier, and attracting newfangled chemicals. Increasingly, the odds are stacked against us in the struggle with breast cancer, even among men. What makes breasts so mercurial—and so vulnerable?In this informative and highly entertaining account, intrepid science reporter Florence Williams sets out to uncover the latest scientific findings from the fields of anthropology, biology, and medicine. Her investigation follows the life cycle of the breast from puberty to pregnancy to menopause, taking her from a plastic surgeon’s office where she learns about the importance of cup size in Texas to the laboratory where she discovers the presence of environmental toxins in her own breast milk. The result is a fascinating exploration of where breasts came from, where they have ended up, and what we can do to save them.

    She can describe the smell, the atmosphere of the salon, and her mix of emotions when she saw her normally kinky tresses fall down her shoulders. For as long as Emma can remember, her hair has been a source of insecurity, shame, and—from strangers and family alike—discrimination. And she is not alone.Despite increasingly liberal world views, black hair continues to be erased, appropriated, and stigmatized to the point of taboo. Through her personal and historical journey, Dabiri gleans insights into the way racism is coded in society’s perception of black hair—and how it is often used as an avenue for discrimination. Dabiri takes us from pre-colonial Africa, through the Harlem Renaissance, and into today's Natural Hair Movement, exploring everything from women's solidarity and friendship, to the criminalization of dreadlocks, to the dubious provenance of Kim Kardashian's braids.Through the lens of hair texture, Dabiri leads us on a historical and cultural investigation of the global history of racism—and her own personal journey of self-love and finally, acceptance.

    Now, critics, sports writers and fans across America are cheering The NEW Thinking Man's Guide to Pro Football as the worthy heir to Zimmerman's 1971 classic The Thinking Man's Guide to Pro Football, which Howard Cosell called "the best book of its kind I've ever read." Far more than a revision, The NEW Thinking Man's Guide to Pro Football is virtually a brand-new book (in 1984) prompted by, as Zimmerman writes in his introduction, "a whole new generation of players and coaches (who have) given rise to a new set of reflections about a world that is ever changing." Zimmerman examines positions, tactics, the great players and moments of peak performance, football scouting, broadcasting, minor leagues, the rule changes of the pst decade and how they have inspired new playing stategies (crisply illustrated with diagrams). And with characteristic verve, insight and no-nonsense prose, Zimmerman pays close attention to the effect of football''s pounding nose-to-nose competition on the everyday player's personality.

    Text Me When You Get Home is a personal and sociological perspective - and ultimately a celebration - of the evolution of the modern female friendship.Kayleen Schaefer has experienced (and occasionally, narrowly survived) most every iteration of the modern female friendship. First there was the mean girl cliques of the '90s; then the teenage friendships that revolved around constant discussion of romantic interests and which slowly morphed into Sex and the City spin-offs; the disheartening loneliness of "I'm not like other girls" friendships with only men; the discovery of a platonic soul mate; and finally, the overwhelming love of a supportive female squad (#squad).And over the course of these friendships, Schaefer made a startling discovery: girls make the best friends. And she isn't the only one to realize this. Through interviews with friends, mothers, authors, celebrities, businesswomen, doctors, screenwriters, and historians (a list that includes Judy Blume, Megan Abbott, The Fug Girls, and Kay Cannon), Schaefer shows a remarkable portrait of what female friendships can help modern women accomplish in their social, personal, and work lives.A validation of female friendship unlike any that's ever existed before, this book is a mix of historical research, the author's own personal experience, and conversations about friendships across the country. Everything Schaefer uncovers leads to - and makes the case for - the eventual conclusion that these ties among women are making us (both as individuals and as society as a whole) stronger than ever before.

    Featuring 130 figures as well as 10 additional ‘top ten’ lists, the book will offer new angles on famous faces as well as introduce you to some unsung heroes. While the narrative takes the reader through feminisms struggle from the first wave to the fourth, the table offers a key to understanding how these women and the battles they fought speak to each other across time and continents: if you’re inspired by Sheryl Sandberg, prepared to be equally wowed by Frances Harper and Alison Bechdel. With unique illustrations and pull-out quotes peppered throughout, this is an essential guide to Feminism and a place to turn to for courage and inspiration from history’s heroic women.

    Catherine McCormack illuminates the assumptions behind these stereotypes whether writ large or subtly hidden. She ranges through Western art—think Titian, Botticelli, and Millais—and the image-saturated world of fashion photographs, advertisements, and social media, and boldly counters these depictions by turning to the work of women artists like Morisot, Ringgold, Lacy, and Walker, who offer alternative images for exploring women’s identity, sexuality, race, and power in more complex ways.

    Between their bedroom antics and their busy lives, Crystal, Geneva, Chevy, and Noah are all faced with situations that are way too hot to handle . . .Crystal’s finding it hard to concentrate at work, and no wonder—she’s got a stud in Antigua who’s beginning to mean more to her than just steamy sex. While things are red-hot with Geneva and her sexy young man, Deeka, her new diet pills stir up more trouble than her collection of slinky lingerie ever did.Chevy’s out-of-control spending has finally caught up with her; when her paycheck is almost entirely garnished, she is forced to resort to sex with an ex to keep a roof over her head.Noah and his partner can’t come to an agreement about adopting children, but one thing’s for sure: A blast from his little-known past with a woman is about to rock his world.

    But the same things that have made it so have also made a good marriage more fulfilling than ever before. In this enlightening and hugely entertaining book, historian and marriage expert Stephanie Coontz takes readers from the marital intrigues of ancient Babylon to the sexual torments of Victorian couples to demonstrate how recent the idea of marrying for love is-and how absurd it would have seemed to most of our ancestors. It was only 200 years ago that marriage began to be about love and emotional commitment, and since then the very things that have strengthened marriage as a personal relationship have steadily weakened it as a social institution. Marriage, A History brings intelligence, wit, and some badly needed perspective to today's marital debates and dilemmas.

    The Passion is perhaps her most highly acclaimed work, a modern classic that confirms her special claim on the novel. Set during the tumultuous years of the Napoleonic Wars, The Passion intertwines the destinies of two remarkable people: Henri, a simple French soldier, who follows Napoleon from glory to Russian ruin; and Villanelle, the red-haired, web-footed daughter of a Venetian boatman, whose husband has gambled away her heart. In Venice’s compound of carnival, chance, and darkness, the pair meet their singular destiny.In her unique and mesmerizing voice, Winterson blends reality with fantasy, dream, and imagination to weave a hypnotic tale with stunning effects.

    . . It’s honest to god the basic human playbook”These are some of the thousands of messages that Kate Baer has received online. Like countless other writers—particularly women—with profiles on the internet, as Kate’s online presence grew, so did the darker messages crowding her inbox. These missives from strangers have ranged from “advice” and opinions to outright harassment. At first, these messages resulted in an immediate delete and block. Until, on a whim, Kate decided to transform the cruelty into art, using it to create fresh and intriguing poems. These pieces, along with ones made from notes of gratitude and love, as well as from the words of public figures, have become some of her most beloved work.  I Hope This Finds You Well is drawn from those works: a book of poetry birthed in the darkness of the internet that offers light and hope. By cleverly building on the harsh negativity and hate women often receive—and combining it with heartwarming messages of support, gratitude, and connection, Kate Baer offers us a lesson in empowerment, showing how we too can turn bitterness into beauty.

    A wake-up call about the growing trend of misogyny in our culture-as evidenced by the flood of reality TV shows, ads, and lyrics that portray women as brainless bimbos, or worseShmuley Boteach, the social commentator and outspoken relationship guru, shares his grave concerns about our society's growing contempt for women. Turn on the television: Reality TV shows such as The Bachelor, For Love or Money, and Average Joe boost their ratings by showing attractive women in competition for one man, one man's money, or both. On a "quest for true love," these women quickly devolve into a pit of vipers-and millions of Americans tune in each week for more. During commercial breaks, women are objectified to sell beer, cars, and every other product under the sun. Flip on the radio: Women are bitches, hos, and gold diggers, at least if you listen to the rap lyrics pumping out into our mass consciousness. And female pop stars like Britney and Madonna, says Boteach, have pushed the envelope past provocative and into the downright pornographic. 'Tween girls across the country follow their lead, and standards for how women should be treated plummet.Perhaps one of the most troubling aspects of this trend, he says, is women's complicity in their own degradation. Either they've become resigned to base stereotypes, or worse, they've bought into these mass market values (hence the deluge of shows like The Swan and Extreme Makeover, on which female contestants insist they need a new nose, teeth, or boobs to feel a positive sense of self-esteem). "There are strong consequences," writes Boteach, "in a world where men have no respect for women and women have no respect for themselves."Greedy gold diggers, brainless bimbos, publicity prostitutes, and backstabbing bitches-are these the stereotypes we want our sons and daughters bombarded by as they grow up? Hating Women offers a vision of how we can correct this downward spiral-along with a strong argument for why we absolutely must.

    Helena Kennedy focuses on the treatment of women in our courts - at the prejudices of judges, the misconceptions of jurors, the labyrinths of court procedures and the influence of the media. But the inequities she uncovers could apply equally to any disadvantaged group - to those whose cases are subtly affected by race, class poverty or politics, or who are burdened, even before they appear in court, by misleading stereotypes.

    A Brahman Congress leader suggests that a Dalit chief minister be raped and paid compensation. In his 1916 paper Castes in India , the 25-year-old Ambedkar offered the insight that the caste system thrives by its control of women, and that caste is a product of sustained endogamy. Since then, till the time he piloted the Hindu Code Bill, seeking to radicalise women s rights in the 1950s, Ambedkar deployed a range of arguments to make his case against Brahmanism and its twin, patriarchy. While Ambedkar s original insights have been neglected by sociologists, political theorists and even feminists, they have been kept alive, celebrated and memorialised by Dalit musical troupes and booklets in Maharashtra. Sharmila Rege, in this compelling selection of Ambedkar s writings on the theme of Brahmanical patriarchy, illuminates for us his unprecedented sociological observations. Rege demonstrates how and why Ambedkar laid the base for what was, properly speaking, a feminist take on caste.