Despite making up less than 1% of the country's population, they are the subjects of a toxic and increasingly polarised 'debate', which generates reliable controversy for newspapers and talk shows. This media frenzy conceals a simple fact: that we are having the wrong conversation, a conversation in which trans people themselves are reduced to a talking point and denied a meaningful voice.In this powerful new book, Shon Faye reclaims the idea of the 'transgender issue' to uncover the reality of what it means to be trans in a transphobic society. In doing so, she provides a compelling, wide-ranging analysis of trans lives from youth to old age, exploring work, family, housing, healthcare, the prison system, and trans participation in the LGBTQ+ and feminist communities, in contemporary Britain and beyond.The Transgender Issue is a landmark work that signals the beginning of a new, healthier conversation about trans life. It is a manifesto for change, and a call for justice and solidarity between all marginalised people and minorities. Trans liberation, as Faye sees it, goes to the root of what our society is and what it could be; it offers the possibility of a more just, free and joyful world for all of us.

    She encouraged people to own up and share their racist behaviors, big and small. She was looking for truth, and she got it. Thousands of people participated in the challenge, and over 90,000 people downloaded the Me and White Supremacy Workbook.The updated and expanded Me and White Supremacy takes the work deeper by adding more historical and cultural contexts, sharing moving stories and anecdotes, and including expanded definitions, examples, and further resources.Awareness leads to action, and action leads to change. The numbers show that readers are ready to do this work - let's give it to them.

    This is a book about the incentives that shape us, and about how hard it is to see ourselves clearly in a culture that revolves around the self. In each essay, Jia writes about the cultural prisms that have shaped her: the rise of the nightmare social internet; the American scammer as millennial hero; the literary heroine’s journey from brave to blank to bitter; the mandate that everything, including our bodies, should always be getting more efficient and beautiful until we die.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    Through the stories of victims, perpetrators, law enforcement, and reform movements from across the country, Snyder explores not only the dark corners of private violence, but also its far-reaching consequences for society, and what it will take to truly address it.

    Gerda Lerner argues that male dominance over women is not "natural" or biological, but the product of an historical development begun in the second millennium B.C. in the Ancient Near East. As patriarchy as a system of organizing society was established historically, she contends, it can also be ended by the historical process.Focusing on the contradiction between women's central role in creating society and their marginality in the meaning-giving process of definition and interpretation, Lerner explores such fascinating questions as: What can account for women's exclusion from the historical process? What could explain the long delay--more than 3,500 years--in women's coming to consciousness of their own subordinate position? She goes back to the cultures of the earliest known civilizations--those of the ancient Near East--to discover the origins of the major gender metaphors of Western civilization. Using historical, literary, archaeological, and artistic evidence, she then traces the development of these ideas, symbols, and metaphors and their incorporation into Western civilization as the basis of patriarchal gender relations.

     Elinor Cleghorn became an unwell woman ten years ago. She was diagnosed with an autoimmune disease after a long period of being told her symptoms were anything from psychosomatic to a possible pregnancy. As Elinor learned to live with her unpredictable disease she turned to history for answers, and found an enraging legacy of suffering, mystification, and misdiagnosis.In Unwell Women, Elinor Cleghorn traces the almost unbelievable history of how medicine has failed women by treating their bodies as alien and other, often to perilous effect. The result is an authoritative and groundbreaking exploration of the relationship between women and medical practice, from the wandering womb of Ancient Greece to the rise of witch trials across Europe, and from the dawn of hysteria as a catchall for difficult-to-diagnose disorders to the first forays into autoimmunity and the shifting understanding of hormones, menstruation, menopause, and conditions like endometriosis.Packed with character studies and case histories of women who have suffered, challenged, and rewritten medical orthodoxy--and the men who controlled their fate--this is a revolutionary examination of the relationship between women, illness, and medicine. With these case histories, Elinor pays homage to the women who suffered so strides could be made, and shows how being unwell has become normalized in society and culture, where women have long been distrusted as reliable narrators of their own bodies and pain. But the time for real change is long overdue: answers reside in the body, in the testimonies of unwell women--and their lives depend on medicine learning to listen.

    He was also producing for the ear. In the audiobook version of Talking to Strangers, you'll hear the voices of people he interviewed--scientists, criminologists, military psychologists. Court transcripts are brought to life with re-enactments. You actually hear the contentious arrest of Sandra Bland by the side of the road in Texas. As Gladwell revisits the deceptions of Bernie Madoff, the trial of Amanda Knox, and the suicide of Sylvia Plath, you hear directly from many of the players in these real-life tragedies. There's even a theme song - Janelle Monae's "Hell You Talmbout."Something is very wrong, Gladwell argues, with the tools and strategies we use to make sense of people we don't know. And because we don't know how to talk to strangers, we are inviting conflict and misunderstanding in ways that have a profound effect on our lives and our world.

    From an immensely knowledgeable feminist perspective, in engaging, jargonless (!) prose, Bordo analyzes a whole range of issues connected to the body—weight and weight loss, exercise, media images, movies, advertising, anorexia and bulimia, and much more—in a way that makes sense of our current social landscape—finally! This is a great book for anyone who wonders why women's magazines are always describing delicious food as 'sinful' and why there is a cake called Death by Chocolate. Loved it!"—Katha Pollitt, Nation columnist and author of Subject to Debate: Sense and Dissents on Women, Politics, and Culture (2001)

    The shamed are people like us - people who, say, made a joke on social media that came out badly, or made a mistake at work. Once their transgression is revealed, collective outrage circles with the force of a hurricane and the next thing they know they're being torn apart by an angry mob, jeered at, demonized, sometimes even fired from their job. People are using shame as a form of social control.

    From music and fashion to activism and language, black culture constantly achieves worldwide influence. Yet, when it comes to who is allowed to thrive from black hipness, the pioneers are usually left behind as black aesthetics are converted into mainstream success—and white profit. Weaving together narrative, scholarship, and critique, Lauren Michele Jackson reveals why cultural appropriation—something that’s become embedded in our daily lives—deserves serious attention. It is a blueprint for taking wealth and power, and ultimately exacerbates the economic, political, and social inequity that persists in America. She unravels the racial contradictions lurking behind American culture as we know it—from shapeshifting celebrities and memes gone viral to brazen poets, loveable potheads, and faulty political leaders.An audacious debut, White Negroes brilliantly summons a re-interrogation of Norman Mailer’s infamous 1957 essay of a similar name. It also introduces a bold new voice in Jackson. Piercing, curious, and bursting with pop cultural touchstones, White Negroes is a dispatch in awe of black creativity everywhere and an urgent call for our thoughtful consumption.

    Jared Yates Sexton alternates between an examination of his working class upbringing and historical, psychological, and sociological sources that examine the genesis of toxic masculinity and its consequences for society.As progressivism changes American society, and globalism shifts labor away from traditional manufacturing, the roles that have been prescribed to men since the Industrial Revolution have been rendered as obsolete. Donald Trump's campaign successfully leveraged male resentment and entitlement, and now, with Trump as president and the rise of the #MeToo movement, it’s clearer than ever what a problem performative masculinity is.Deeply personal and thoroughly researched, The Man They Wanted Me to Be examines how we teach boys what’s expected of men in America, and the long term effects of that socialization—which include depression, suicide, misogyny, and, ultimately, shorter lives. Sexton turns his keen eye to the establishment of the racist patriarchal structure which has favored white men, and investigates the personal and societal dangers of such outdated definitions of manhood.

    She described how women remained marginalized by the patriarchal culture of Black Power and the ways in which a genuine female subjectivity was blocked by the traditional myths of black womanhood. In 1990 the author added a new introduction examining the debate the book had sparked between intellectuals and political leaders; an extensive bibliography of contemporary black feminist studies was also added. Black Macho raised issues and arguments that framed the terms of current feminist and black theory and continues to be relevant today.

    How does it feel to be constantly regarded as a potential threat, strip-searched at every airport?Or be told that, as an actress, the part you’re most fitted to play is ‘wife of a terrorist’? How does it feel to have words from your native language misused, misappropriated and used aggressively towards you? How does it feel to hear a child of colour say in a classroom that stories can only be about white people? How does it feel to go ‘home’ to India when your home is really London? What is it like to feel you always have to be an ambassador for your race? How does it feel to always tick ‘Other’?Bringing together 21 exciting black, Asian and minority ethnic voices emerging in Britain today, The Good Immigrant explores why immigrants come to the UK, why they stay and what it means to be ‘other’ in a country that doesn’t seem to want you, doesn’t truly accept you – however many generations you’ve been here – but still needs you for its diversity monitoring forms.Inspired by discussion around why society appears to deem people of colour as bad immigrants – job stealers, benefit scroungers, undeserving refugees – until, by winning Olympic races or baking good cakes, or being conscientious doctors, they cross over and become good immigrants, editor Nikesh Shukla has compiled a collection of essays that are poignant, challenging, angry, humorous, heartbreaking, polemic, weary and – most importantly – real.

    It is divided into three parts: the first is introduced by a powerful prayer for the dead of 9/11; the second by a searching meditation on Martin Luther King Jr., and the last by a heart-wrenching eulogy for James Baldwin. In the writings and speeches included here, Morrison takes on contested social issues: the foreigner, female empowerment, the press, money, "black matter(s)," and human rights. She looks at enduring matters of culture: the role of the artist in society, the literary imagination, the Afro-American presence in American literature, and in her Nobel lecture, the power of language itself. And here too is piercing commentary on her own work (including The Bluest Eye, Sula, Tar Baby, Jazz, Beloved, and Paradise) and that of others, among them, painter and collagist Romare Bearden, author Toni Cade Bambara, and theater director Peter Sellars. In all, The Source of Self-Regard is a luminous and essential addition to Toni Morrison's oeuvre.