Artists from Beyoncé to Nicki Minaj to Janelle Monáe have claimed it as an inspiration, and it was recently included in the National Recording Registry by the Library of Congress, as well as named the second greatest album by a woman in history by NPR (right behind Joni Mitchell’s Blue). Award-winning feminist author and journalist Joan Morgan delivers an expansive, in-depth, and heartfelt analysis of the album and its enduring place in pop culture. She Begat This is both an indelible portrait of a magical moment when a young, fierce, and determined singer-rapper-songwriter made music history and a crucial work of scholarship, perfect for longtime hip-hop fans and a new generation of fans just discovering this album.

    Clark's clear-eyed sympathy for Hughes, his lover Assia Wevill, and other demonized players in the arena of Plath's suicide promotes a deeper understanding of her final days, with their outpouring of first-rate poems. Along with illuminating readings of the poems themselves, Clark's meticulous, compassionate research brings us closer than ever to the spirited woman and visionary artist who blazed a trail that still lights the way for women poets the world over.

    From the moment powerful men started falling to the #MeToo movement, the lamentations began: this is feminism gone too far, this is injustice, this is a witch hunt. In The Witches Are Coming, firebrand author of the New York Times bestselling memoir and now critically acclaimed Hulu TV series Shrill, Lindy West, turns that refrain on its head. You think this is a witch hunt? Fine. You’ve got one.In a laugh-out-loud, incisive cultural critique, West extolls the world-changing magic of truth, urging readers to reckon with dark lies in the heart of the American mythos, and unpacking the complicated, and sometimes tragic, politics of not being a white man in the twenty-first century. She tracks the misogyny and propaganda hidden (or not so hidden) in the media she and her peers devoured growing up, a buffet of distortions, delusions, prejudice, and outright bullsh*t that has allowed white male mediocrity to maintain a death grip on American culture and politics-and that delivered us to this precarious, disorienting moment in history.West writes, “We were just a hair’s breadth from electing America’s first female president to succeed America’s first black president. We weren’t done, but we were doing it. And then, true to form—like the Balrog’s whip catching Gandalf by his little gray bootie, like the husband in a Lifetime movie hissing, ‘If I can’t have you, no one can’—white American voters shoved an incompetent, racist con man into the White House.”We cannot understand how we got here-how the land of the free became Trump’s America—without examining the chasm between who we are and who we think we are, without fact—checking the stories we tell ourselves about ourselves and each other. The truth can transform us; there is witchcraft in it. Lindy West turns on the light.

    In this collection, including two never-before-published essays, Nussbaum writes about her passion for television that began with stumbling upon "Buffy the Vampire Slayer"—a show that was so much more than it appeared—while she was a graduate student studying Victorian literature. What followed was a love affair with television, an education, and a fierce debate about whose work gets to be called “great” that led Nussbaum to a trailblazing career as a critic whose reviews said so much more about our culture than just what’s good on television. Through these pieces, she traces the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And she explores the links between the television antihero and the rise of Donald Trump.The book is more than a collection of essays. With each piece, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that elevates one form of culture over another. It traces her own struggle to punch through stifling notions of “prestige television,” searching for a wilder and freer and more varied idea of artistic ambition—one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It’s a book that celebrates television as television, even as each year warps the definition of just what that might mean.

    Bette Davis's eyes, Joan Crawford's bitchy elegance, Stepin Fetchit's stereotype, Sidney Poitier's superhuman black man...  These are the movie stars and the qualities that influenced James Baldwin...  and now become part of his incisive look at racism in American movies.Baldwin challenges the underlying assumptions in such films as In the Heat of the Night, Guess Who's Coming to Dinner, and The Exorcist, offering us a vision of America's self-delusions and deceptions.  Here are our loves and hates, biases and cruelties, fears and ignorance reflected by the films that have entertained us and shaped our consciousness.  And here, too, is the stunning prose of a writer whose passion never diminished his struggle for equality, justice, and social change.From The Birth of a Nation to The Exorcist--one of America's most important writers turns his critical eye to American film.

    But for someone who should have been hailed as a pioneer in the genre there was little information available. For, as O’Meara soon discovered, Patrick’s contribution had been claimed by a jealous male colleague, her career had been cut short and she soon after had disappeared from film history. No one even knew if she was still alive.As a young woman working in the horror film industry, O’Meara set out to right the wrong, and in the process discovered the full, fascinating story of an ambitious, artistic woman ahead of her time. Patrick’s contribution to special effects proved to be just the latest chapter in a remarkable, unconventional life, from her youth growing up in the shadow of Hearst Castle, to her career as one of Disney’s first female animators. And at last, O’Meara discovered what really had happened to Patrick after The Creature’s success, and where she went.A true-life detective story and a celebration of a forgotten feminist trailblazer, Mallory O’Meara’s The Lady from the Black Lagoon establishes Patrick in her rightful place in film history while calling out a Hollywood culture where little has changed since.

    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.

    As Farrow drew closer to the truth, shadowy operatives, from high-priced lawyers to elite war-hardened spies, mounted a secret campaign of intimidation, threatening his career, following his every move and weaponizing an account of abuse in his own family.All the while, Farrow and his producer faced a degree of resistance that could not be explained - until now. And a trail of clues revealed corruption and cover-ups from Hollywood, to Washington, and beyond.This is the untold story of the exotic tactics of surveillance and intimidation deployed by wealthy and connected men to threaten journalists, evade accountability and silence victims of abuse - and it's the story of the women who risked everything to expose the truth and spark a global movement.Both a spy thriller and a meticulous work of investigative journalism, Catch and Kill breaks devastating new stories about the rampant abuse of power - and sheds far-reaching light on investigations that shook the culture.In a dramatic account of violence and espionage, Pulitzer Prize-winning investigative reporter Ronan Farrow exposes serial abusers and a cabal of powerful interests hell-bent on covering up the truth, at any cost.

    It's not that she's an outcast (she might even be your friend or your wife, or your mother) so much as she's a social variable. Sometimes, she's the life of the party; others, she's the center of gossip. She's the unruly woman, and she's one of the most provocative, powerful forms of womanhood today. There have been unruly women for as long as there have been boundaries of what constitutes acceptable "feminine" behavior, but there's evidence that she's on the rise--more visible and less easily dismissed--than ever before. In Too Fat, Too Slutty, Too Loud, Anne Helen Petersen uses the lens of "unruliness" to explore the ascension of eleven contemporary powerhouses: Serena Williams, Melissa McCarthy, Abbi Jacobson, Ilana Glazer, Nicki Minaj, Kim Kardashian, Hillary Clinton, Caitlyn Jenner, Jennifer Weiner, and Lena Dunham. Petersen explores why the public loves to love (and hate) these controversial figures, each of whom has been conceived as "too" something: too queer, too strong, too honest, too old, too pregnant, too shrill, too much. With its brisk, incisive analysis, Too Fat, Too Slutty, Too Loud will be a conversation-starting book on what makes and breaks celebrity today.

    In this engaging and provocative new book, beloved actor, director, and social activist Justin Baldoni reflects on his own struggles with masculinity. With insight and honesty, he explores a range of difficult, sometimes uncomfortable topics including strength and vulnerability, relationships and marriage, body image, sex and sexuality, racial justice, gender equality, and fatherhood. Writing from experience, Justin invites us to move beyond the scripts we’ve learned since childhood and the roles we are expected to play. He challenges men to be brave enough to be vulnerable, to be strong enough to be sensitive, to be confident enough to listen. Encouraging men to dig deep within themselves, Justin helps us reimagine what it means to be man enough and in the process what it means to be human.

    Her compelling and demanding collection The Death of Adam—in which she reflected on her Presbyterian upbringing, investigated the roots of Midwestern abolitionism, and mounted a memorable defense of Calvinism—is respected as a classic of the genre, praised by Doris Lessing as “a useful antidote to the increasingly crude and slogan-loving culture we inhabit.” In this new collection she returns to the themes which have preoccupied her work: the role of faith in modern life, the inadequacy of fact, the contradictions inherent in human nature. Clear-eyed and forceful as ever, Robinson demonstrates once again why she is regarded as a modern rhetorical master.

    Men from Aristotle to Freud have insisted that women are freakish creatures, capable of immense destruction. Maybe they are. And maybe that’s a good thing.... Sady Doyle, hailed as “smart, funny and fearless” by the Boston Globe, takes readers on a tour of the female dark side, from the biblical Lilith to Dracula’s Lucy Westenra, from the T-Rex in Jurassic Park to the teen witches of The Craft. She illuminates the women who have shaped our nightmares: Serial killer Ed Gein’s “domineering” mother Augusta; exorcism casualty Anneliese Michel, starving herself to death to quell her demons; author Mary Shelley, dreaming her dead child back to life. These monsters embody patriarchal fear of women, and illustrate the violence with which men enforce traditionally feminine roles. They also speak to the primal threat of a woman who takes back her power. In a dark and dangerous world, Dead Blondes and Bad Mothers asks women to look to monsters for the ferocity we all need to survive. “Some people take a scalpel to the heart of media culture; Sady Doyle brings a bone saw, a melon baller, and a machete.”—Andi Zeisler, author of We Were Feminists Once

    Trump, journalist Seyward Darby went looking for the women of the so-called alt-right--really just white nationalism with a new label. The mainstream media depicted the alt-right as a bastion of angry white men, but was it? As women headlined resistance to the Trump administration's bigotry and sexism, most notably at the women's marches, Darby wanted to know why others were joining a movement espousing racism and anti-feminism. Who were these women, and what did their activism reveal about America's past, present, and future? Darby researched dozens of women across the country before settling on three: Corinna Olsen, Ayla Stewart, and Lana Lokteff. Each was born in 1979 and became a white nationalist in the post-9/11 era. Their respective stories of radicalization upend much of what we assume about women, politics, and political extremism.

    But in her speech she was in a mood to consider her life, her legacy, her departure from the country she was now triumphantly returning to. “I was a devil in other countries, and I was a little devil in America, too,” she told the crowd. Inspired by these few words, Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the twenty-seven seconds in “Gimme Shelter” in which Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of spades right after the cards are dealt—has layers of resonance in Black and white cultures, the politics of American empire, and Abdurraqib’s own personal history of love, grief, and performance.Abdurraqib writes prose brimming with jubilation and pain, infused with the lyricism and rhythm of the musicians he loves. With care and generosity, he explains the poignancy of performances big and small, each one feeling intensely familiar and vital, both timeless and desperately urgent. Filled with sharp insight, humor, and heart, A Little Devil in America exalts the Black performance that unfolds in specific moments in time and space—from midcentury Paris to the moon, and back down again to a cramped living room in Columbus, Ohio.

    Today they provide an incendiary portrait of the flash and dash and power brokering of the Excessive Eighties in New York and Hollywood.The Vanity Fair Diaries is the story of an Englishwoman barely out of her twenties who arrives in New York City with a dream. Summoned from London in hopes that she can save Conde Nast's troubled new flagship Vanity Fair, Tina Brown is immediately plunged into the maelstrom of the competitive New York media world and the backstabbing rivalries at the court of the planet's slickest, most glamour-focused magazine company. She survives the politics, the intrigue, and the attempts to derail her by a simple stratagem: succeeding. In the face of rampant skepticism, she triumphantly reinvents a failing magazine.Here are the inside stories of Vanity Fair scoops and covers that sold millions--the Reagan kiss, the meltdown of Princess Diana's marriage to Prince Charles, the sensational Annie Leibovitz cover of a gloriously pregnant, naked Demi Moore. In this cinematic audiobook, the drama, the comedy, and the struggle of running an "it" magazine come to life. Brown's Vanity Fair Diaries is also a woman's journey, of making a home in a new country and of the deep bonds with her husband, their prematurely born son, and their daughter.Astute, open-hearted, often riotously funny, Tina Brown's The Vanity Fair Diaries is a compulsively fascinating and intimate chronicle of a woman's life in a glittering era.