The book also includes descriptions of laquerware under candlelight, and women in the darkness of the house of pleasure.

     "When I say that I was a feminist in kindergarten, I am not exaggerating," begins Isabel Allende. As a child, she watched her mother, abandoned by her husband, provide for her three small children without "resources or voice." Isabel became a fierce and defiant little girl, determined to fight for the life her mother couldn't have.As a young woman coming of age in the late 1960s, she rode the first wave of feminism. Among a tribe of like-minded female journalists, she for the first time felt comfortable in her own skin, as they wrote "with a knife between their teeth" about women's issues. She has seen what has been accomplished by the movement in the course of her lifetime. And over the course of three passionate marriages, she has learned how to grow as a woman while having a partner, when to step away, and the rewards of embracing one's sexuality.So what do women want? To be safe, to be valued, to live in peace, to have their own resources, to be connected, to have control over their bodies and lives, and above all, to be loved. On all these fronts, there is much work to be done, and this book, Allende hopes, will "light the torch of our daughters and granddaughters with mine. They will have to live for us, as we lived for our mothers, and carry on with the work still left to be finished."

    Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze.How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever.Bruno Munari (1907-1998), born in Milan, was the enfant terrible of Italian art and design for most of the twentieth century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). He was twice awarded the Compasso d'Oro design prize for excellence in his field.If you enjoyed Design as Art, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics.'One of the most influential designers of the twentieth century ... Munari has encouraged people to go beyond formal conventions and stereotypes by showing them how to widen their perceptual awareness'International Herald Tribune

    Once a dirty word brushed away with a grimace, "feminist" has been rebranded as a shiny label sported by movie and pop stars, fashion designers, and multi-hyphenate powerhouses like Beyoncé It drives advertising and marketing campaigns for everything from wireless plans to underwear to perfume, presenting what's long been a movement for social justice as just another consumer choice in a vast market. Individual self-actualization is the goal, shopping more often than not the means, and celebrities the mouthpieces. But what does it mean when social change becomes a brand identity? Feminism's splashy arrival at the center of today's media and pop-culture marketplace, after all, hasn't offered solutions to the movement's unfinished business. Planned Parenthood is under sustained attack, women are still paid 77 percent -- or less -- of the man's dollar, and vicious attacks on women, both on- and offline, are utterly routine. Andi Zeisler, a founding editor of Bitch Media, draws on more than twenty years' experience interpreting popular culture in this biting history of how feminism has been co-opted, watered down, and turned into a gyratory media trend. Surveying movies, television, advertising, fashion, and more, Zeisler reveals a media landscape brimming with the language of empowerment, but offering little in the way of transformational change. Witty, fearless, and unflinching, We Were Feminists Once is the story of how we let this happen, and how we can amplify feminism's real purpose and power.

    This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. Synopsis Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. About Author: Biography Steven Izenour (1940-2001)

    Contained in this volume are the following essays: Civil Disobedience, Natural History of Massachusetts, A Walk to Wachusett, The Landlord, A Winter Walk, The Succession of Forest Trees, Walking, Autumnal Tints, Wild Apples, Night and Moonlight, Aulus Persius Flaccus, Herald of Freedom, Life Without Principle, Paradise (to be) Regained, A Plea for John Brown, The Last Days of John Brown, After the Death of John Brown, The Service, Slavery in Massachusetts, and Wendell Phillips Before Concord Lyceum.

    What one does with this desire is what we call gender." So begins Andrea Long Chu's investigation into gender and desire, females and bodies, radical dreams and philosophical pessimism, and feminism as a form of political suicide. Feminism, Chu argues, is an untenable claim, and "when you make an untenable claim, your desire is showing, like a shy tattoo peeking out from a sleeve." Written in a series of linked theses, this is a provocative and searching text from our most exciting new public intellectual, a self described "sad trans girl in Brooklyn." Chu wears her heart on her sleeve with wit, style, and a manic searching grace.

    In Aesthetics and Politics the key texts of the great Marxist controversies over literature and art during these years are assembled in a single volume. They do not form a disparate collection but a continuous, interlinked debate between thinkers who have become giants of twentieth-century intellectual history.Discussing expressionism / Ernst BlochRealism in the balance / Georg LukacsAgainst Georg Luckacs / Bertolt BrechtConversations with Brecht / Walter BenjaminLetters to Walter Benjamin / Theodor AdornoReply / Walter BenjaminReconciliation under duress ; Commitment / Theodor AdornoReflections in conclusion / Fredric Jameson

    An award-winning war correspondent for twenty-five years (she’s never had a female editor) Lamb reports two wars—the “bang-bang” war and the story of how the people behind the lines live and survive. At the same time, since men usually act as the fighters, women are rarely interviewed about their experience of wartime, other than as grieving widows and mothers, though their experience is markedly different from that of the men involved in battle. Lamb chronicles extraordinary tragedy and challenges in the lives of women in wartime. And none is more devastating than the increase of the use of rape as a weapon of war. Visiting warzones including the Congo, Rwanda, Nigeria, Bosnia, and Iraq, and spending time with the Rohingya fleeing Myanmar, she records the harrowing stories of survivors, from Yazidi girls kept as sex slaves by ISIS fighters and the beekeeper risking his life to rescue them; to the thousands of schoolgirls abducted across northern Nigeria by Boko Haram, to the Congolese gynecologist who stitches up more rape victims than anyone on earth. Told as a journey, and structured by country, Our Bodies, Their Battlefields gives these women voice. We have made significant progress in international women’s rights, but across the world women are victimized by wartime atrocities that are rarely recorded, much less punished. The first ever prosecution for war rape was in 1997 and there have been remarkably few convictions since, as if rape doesn’t matter in the reckoning of war, only killing. Some courageous women in countries around the world are taking things in their own hands, hunting down the war criminals themselves, trying to trap them through Facebook. In this profoundly important book, Christina Lamb shines a light on some of the darkest parts of the human experience—so that we might find a new way forward. Our Bodies, Their Battlefields is as inspiring and empowering is as it is urgent, a clarion call for necessary change.

    Sociologist Orna Donath dispels the silence around this profoundly taboo subject in a powerful work that draws from her years of research interviewing women who wish they had never become mothers.Donath treats regret as a feminist issue: as regret marks the road not taken, we need to consider whether alternative paths for women may currently be blocked off. Donath asks that we pay attention to what is forbidden by our contemporary rules governing motherhood, time, and emotion, including the cultural assumption that motherhood is a “natural” role for women—for the sake of all women, not just those who regret becoming mothers. Donath finds that the women in her study became mothers for a wide variety of reasons: some did so to avoid divorce, exclusion from their family, or alienation from their friends; others did not think about it at all, but accepted it as the “next step” of what society considers to be a normal and natural life course. Others experienced regret despite initially having an strong desire to become mothers. Though they may love their children, these women each describe the agonizing guilt and suffering they have experienced as a result of becoming mothers, and consider the different ways they have each come to recognize and deal with these conflicts.

    A Russian Jewish immigrant at the age of 17, she moved by her own efforts from seamstress in a clothing factory to internationally known radical lecturer, writer, editor and friend of the oppressed. This book is a collection of her remarkably penetrating essays, far in advance of their time, originally published by the Mother Earth press which she founded.In the first of these essays, Anarchism: What It Really Stands For, she says, "Direct action, having proven effective along economic lines, is equally potent in the environment of the individual." In Minorities Versus Majorities she holds that social and economic well-being will result only through "the non-compromising determination of intelligent minorities, and not through the mass." Other pieces deal with The Hypocrisy of Puritanism; Prisons: A Social Crim and Failure; The Psychology of Political Violence—note the relevence of these themes to our own time; The Drama: A Powerful Disseminator of Radical Thought; Patriotism: A Menace to Liberty; and The Tragedy of Woman's Emancipation. A biographical sketch by Hippolyte Havel precedes the essays.Anarchism and Other Essays provides a fascinating look into revolutionary issues at the turn of the century, a prophetic view of the social and economic future, much of which we have seen take place, and above all, a glimpse into the mind of an extraordinary woman: brilliant, provocative, dedicated, passionate, and what used to be called "high-minded."Unabridged republication of the 3rd (1917) edition, with a new Introduction by Richard Drinnon. Frontispiece. xv + 271 pp. 5-3/8 x 8-1/2. Paperbound.

    A few years ago, Chimamanda Ngozi Adichie received a letter from a dear friend from childhood, asking her how to raise her baby girl as a feminist. Dear Ijeawele is Adichie's letter of response.Here are fifteen invaluable suggestions--compelling, direct, wryly funny, and perceptive--for how to empower a daughter to become a strong, independent woman. From encouraging her to choose a helicopter, and not only a doll, as a toy if she so desires; having open conversations with her about clothes, makeup, and sexuality; debunking the myth that women are somehow biologically arranged to be in the kitchen making dinner, and that men can "allow" women to have full careers, Dear Ijeawele goes right to the heart of sexual politics in the twenty-first century. It will start a new and urgently needed conversation about what it really means to be a woman today.

    "The hushed reverence of the gallery can fool you into believing masterpieces are polite things; visions that soothe, charm and beguile, but actually they are thugs. Merciless and wily, the greatest paintings grab you in a headlock, rough up your composure, and then proceed in short order to re-arrange your sense of reality. . . ."With the same disarming force, The Power of Art propels us on an eye-opening, breathtaking odyssey, zooming in on eight extraordinary masterpieces, from Caravaggio's David and Goliath to Picasso's Guernica. Jolting us far from the comfort zone of the hushed art gallery, Schama closes in on intense make-or-break turning points in the lives of eight great artists who, under extreme stress, created something unprecedented, altering the course of art forever.The embattled heroes—Caravaggio, Bernini, Rembrandt, David, Turner, Van Gogh, Picasso and Rothko—each in his own resolute way, faced crisis with steadfast defiance, pitting passion and conviction against scorn and short-sightedness. The masterpieces they created challenged convention, shattered complacency, shifted awareness and changed the way we look at the world.With vivid storytelling and powerfully evocative descriptive passages, Schama explores the dynamic personalities of the artists and the spirit of the times they lived through, capturing the flamboyant theatre of bourgeois life in Amsterdam, the passion and paranoia of Revolutionary Paris, and the carnage and pathos of Civil War Spain.Most compelling of all, The Power of Art traces the extraordinary evolution of eight "eye-popping" world-class works of art. Created in a bolt of illumination, such works "tell us something about how the world is, how it is to be inside our skins, that no more prosaic source of wisdom can deliver. And when they do that, they answer, irrefutably and majestically, the nagging question of every reluctant art-conscript . . . 'OK, OK, but what's art really for?'"

    The reframing of female contributions to the history of art is still ongoing, and this new addition to the Art Essentials series draws attention to some of its key dimensions.Focusing on fifty diverse women artists from Artemisia Gentileschi through Judy Chicago, Ana Mendieta, and the Guerrilla Girls to Barbara Kruger, Cindy Sherman, and Mona Hatoum, this book equips readers with an understanding of feminist art, as well as an appreciation of its most important figures. This latest addition to the Art Essentials series documents women artists in context to offer readers a rich understanding of key female artists from the Baroque to the present day.

    Both male and female readers have acclaimed it as a witty, warm, and life-changing view of the world—"as if women mattered." Steinem's truly personal writing is here, from the humorous exposé "I Was a Playboy Bunny" to the moving tribute to her mother "Ruth's Song (Because She Could Not Sing It)" to prescient essays on female genital mutilation and the difference between erotica and pornography. The satirical and hilarious "If Men Could Menstruate" alone is worth the price of admission.This second edition features a new preface by the author and added notes on classic essays.