Brian’s recounting of his experiences—in all their cringe-worthy, hilarious, and heartbreaking glory—reveal a perpetual outsider awkwardly squirming to find his way in.Indiscriminate sex and escalating drug use help to soothe his hurt, young psyche, usually to uproarious and devastating effect. A no-nonsense mother and broken father play crucial roles in our misfit’s origin story. But it is Brian’s voice in the retelling that shows the true depth of vulnerability for young Black boys that is often quietly near to bursting at the seams.Cleverly framed around Gwendolyn Brooks’s poem “We Real Cool,” the iconic and loving ode to Black boyhood, Punch Me Up to the Gods is at once playful, poignant, and wholly original. Broome’s writing brims with swagger and sensitivity, bringing an exquisite and fresh voice to ongoing cultural conversations about Blackness in America.

    According to this false-yet-familiar story, the divisions between men and women are in nature alone and not part of culture. Drawing on evolutionary science, psychology, neuroscience, endocrinology, and philosophy, Testosterone Rex disproves this ingrained myth and calls for a more equal society based on both sexes’ full human potential.

    With both the general reader and the student in mind, editor Louis L. Martz of Yale University (who also edited H.D.'s Collected Poems 1912-1944) has provided generous examples of H.D.'s work. From her early "Imagist" period, through the "lost" poems of the thirties where H.D. discovered her unique creative voice, to the great prophetic poems of the war years combined in Trilogy, the selection triumphantly concludes with portions of the late sequences Helen in Egypt and Hermetic Definition which focus on rebirth, reconciliation, and the reunion of the divided self.

    Christopher Poindexter's first book is an exploration of humanity at its finest and at its worst. This is a story written between 2011-2015 about the discovery of what makes us human: doing whatever it takes to keep the loneliness away.

    When Jill's parent came out as transgender, Jill pushed through the male-dominated landscape of Hollywood to create the groundbreaking and award-winning Amazon TV series Transparent. Exploring identity, love, sexuality, and the blurring of boundaries through the dynamics of a complicated and profoundly resonant American family, Transparent gave birth to a new cultural consciousness. While working on the show and exploding mainstream ideas about gender, Jill began to erase the lines on their own map, finding their voice as a director, show creator, and activist. She Wants It: Desire, Power, and Toppling the Patriarchy moves with urgent rhythms, wild candor, and razor-edged humor to chart Jill's evolution from straight, married mother of two to identifying as queer and nonbinary. This intense and revelatory metamorphosis challenges the status quo and reflects the shifting power dynamics that continue to shape our collective worldview. With unbridled insight that offers a rare front seat to the inner workings of the #metoo movement and its aftermath, Jill captures the zeitgeist of a generation with thoughtful and revolutionary ideas about gender, inclusion, desire, and consent.

    Either way, it will save your life.”—Melissa Hartwig Urban, Whole30 co-founder and CEOWe live in a world obsessed with drinking. We drink at baby showers and work events, brunch and book club, graduations and funerals. Yet no one ever questions alcohol’s ubiquity—in fact, the only thing ever questioned is why someone doesn’t drink. It is a qualifier for belonging and if you don’t imbibe, you are considered an anomaly. As a society, we are obsessed with health and wellness, yet we uphold alcohol as some kind of magic elixir, though it is anything but.When Holly Whitaker decided to seek help after one too many benders, she embarked on a journey that led not only to her own sobriety, but revealed the insidious role alcohol plays in our society and in the lives of women in particular. What’s more, she could not ignore the ways that alcohol companies were targeting women, just as the tobacco industry had successfully done generations before. Fueled by her own emerging feminism, she also realized that the predominant systems of recovery are archaic, patriarchal, and ineffective for the unique needs of women and other historically oppressed people—who don’t need to lose their egos and surrender to a male concept of God, as the tenets of Alcoholics Anonymous state, but who need to cultivate a deeper understanding of their own identities and take control of their lives. When Holly found an alternate way out of her own addiction, she felt a calling to create a sober community with resources for anyone questioning their relationship with drinking, so that they might find their way as well. Her resultant feminine-centric recovery program focuses on getting at the root causes that lead people to overindulge and provides the tools necessary to break the cycle of addiction, showing us what is possible when we remove alcohol and destroy our belief system around it.Written in a relatable voice that is honest and witty, Quit Like a Woman is at once a groundbreaking look at drinking culture and a road map to cutting out alcohol in order to live our best lives without the crutch of intoxication. You will never look at drinking the same way again.

    Women deal with them every day. Take the common truism that women who sleep around are sluts while men are studs. Why is it that men grow distinguished and sexily gray as they age while women just get saggy and haggard? Have you ever wondered how a young woman is supposed to be both virginal and provocatively enticing at the same time? Isn’t it unfair that working moms are labeled “bad” for focusing on their careers while we shake our heads in disbelief when we hear about the occasional stay-at-home dad?In 50 Double Standards Every Woman Should Know, author Jessica Valenti calls out the double standards that affect every woman. Whether Valenti is pointing out the wage-earning discrepancies between men and women or revealing all of the places that women still aren’t equal to their male counterparts—be it in the workplace, courtroom, bedroom, or home—she maintains her signature wittily sarcastic tone. With sass, humor, and in-your-face facts, this book informs and equips women with the tools they need to combat sexist comments, topple ridiculous stereotypes (girls aren’t good at math?), and end the promotion of double standards.

    Her daughter, Carly, enthusiastically witnesses the change in her mother. But then a few months into their relationship, Dana tells Allison his secret: he has always been certain that he is a woman born into the wrong skin, and soon he will have a sex-change operation. Allison, is overwhelmed by the depth of her passion, and finds herself unable to leave Dana. By deciding to stay, she finds she must confront questions most people never even consider. Not only will her own life and Carly’s be irrevocably changed, she will have to contend with the outrage of a small Vermont community and come to terms with her lover’s new body–hoping against hope that her love will transcend the physical.

    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.

    A groundbreaking book that elevates underrepresented voices, Can We All Be Feminists? offers the tools and perspective we need to create a 21st century feminism that is truly for all.Including essays by: Soofiya Andry, Gabrielle Bellot, Caitlin Cruz, Nicole Dennis-Benn, Brit Bennett, Evette Dionne, Aisha Gani, Afua Hirsch, Juliet Jacques, Wei Ming Kam, Mariya Karimjee, Eishar Kaur, Emer O’Toole, Frances Ryan, Zoé Samudzi, Charlotte Shane, and Selina Thompson

    Longing for the family and security she never had, she allowed herself to be coddled and groomed into Manny's partner-in-crime. Before long, Kit and Manny became infamous for their string of gas station robberies throughout Texas, making a name for themselves as the Texaco Twosome.But as Manny's fatherly demeanor shifts to something darker and more violent, Kit is forced to reconsider their relationship and her own safety. In a flash decision, she leaves Manny at a holdup gone wrong.Thirteen years after her escape, she has made a home for herself and her daughter amongst the pecan trees and muddy creeks of the claustrophobic town of Pecan Hollow. When Manny shows up at her doorstep a new man, fresh out of prison, Kit's profound and twisted attachment to him compels her to let him in. Immediately, Kit's world is transformed and her community is sent into a tailspin.With its rich landscape, indelible characters, and evocative language, Shadows of Pecan Hollow is a hauntingly intimate and distinctly original debut about the strength and vulnerability of womanhood and the complexity of love--both romantic and familial. This penetrating, gritty, and unexpectedly tender novel ensnares the reader in its story of resilience and the bonds that define us.

    "A virtuosic, singular and very funny portrait of a woman seeking sanity and purpose in a world gone mad." --The New York Times Book Review"Riddled with insights into aging, womanhood, and discontent, Wayward is as elegant as it is raw, and almost as funny as it is sad." --Philadelphia Inquirer"A comic, vital new novel." --The New YorkerSamantha Raymond's life has begun to come apart: her mother is ill, her teenage daughter is increasingly remote, and at fifty-two she finds herself staring into the Mids -- that hour of supreme wakefulness between three and four in the morning in which women of a certain age suddenly find themselves contemplating motherhood, mortality, and, in this case, the state of our unraveling nation.When she falls in love with a beautiful, decrepit house in a hardscrabble neighborhood in Syracuse, she buys it on a whim and flees her suburban life -- and her family -- as she grapples with how to be a wife, a mother, and a daughter, in a country that is coming apart at the seams.Dana Spiotta's Wayward is a stunning novel about aging, about the female body, and about female complexity in contemporary America. Probing and provocative, brainy and sensual, it is a testament to our weird times, to reforms and resistance and utopian wishes, and to the beauty of ruins.

    I step into the shower and almost faint, an image of taking the day by the throat and bashing its head against the wall floating in my mind.Thirty-year-old Millie just can't pull it together. Misanthropic and morose, she spends her days killing time at a thankless temp job until she can return home to her empty apartment, where she oscillates wildly between self-recrimination and mild delusion, fixating on all the little ways she might change her life. Then she watches TV until she drops off to sleep, and the cycle begins again.When the possibility of a full-time job offer arises, it seems to bring the better life she's envisioning - one that involves nicer clothes, fresh produce, maybe even financial independence - within reach. But with it also comes the paralyzing realization, lurking just beneath the surface, of just how hollow that vision has become. Darkly hilarious and devastating, The New Me is a dizzying descent into the mind of a young woman trapped in the funhouse of American consumer culture.

    How do we explain our newfound cultural investment in empathy and social justice? For decades, Joseph Campbell had defined our cultural aspirations in The Hero with a Thousand Faces, emphasizing the value of seeking glory and earning immortality. His work became the playbook for Hollywood, with its many male-centric quest narratives. Challenging the models in Campbell's canonical work, Maria Tatar explores how heroines, rarely wielding a sword and deprived of a pen, have flown beneath the radar even as they have been bent on social missions. Using the domestic arts and storytelling skills, they have displayed audacity, curiosity, and care as they struggled to survive and change the reigning culture. Animating figures from Ovid's Philomela, her tongue severed yet still weaving a tale about sexual assault, to Stieg Larsson's Lisbeth Salander, a high-tech wizard seeking justice for victims of a serial killer, The Heroine with 1,001 Faces creates a luminous arc that takes us from ancient times to the present.

     Teenage girls sneak out on a summer night to meet their boyfriends by the train tracks. A woman escapes suffocating grief through a vivid fantasy life. Members of a cult form an unsettling chorus as they extol their passion for the same man. A love story begins over cabbages in a grocery store. A laundress' life is consumed by obsession for a famous baseball player. Two high school friends kiss all night and binge-watch Winona Ryder movies after the death of a sister. Leesa Cross-Smith's sensuous stories will drench readers in nostalgia for summer nights and sultry days, the intense friendships of teenage girls, and the innate bonds felt between women. She evokes the pangs of loss and motherhood, the headiness and destructive potential of desire, and the pure exhilaration of being female. The stories in So We Can Glow--some long, some gone in a flash, some told over text and emails--take the wild hearts of girls and women and hold them up so they can catch the light.We, moons --The Great Barrier Reef is dying but so are we --Unknown legend --Low, small --A tennis court --Tim Riggins would've smoked --Surreptitious, canary, chamomile --Winona forever --Girlheart cake with glitter frosting --Fast as you --Chateau Marmont, champagne, Chanel --Bearish --All that smoke howling blue --Pink bubblegum and flowers --Knock out the heart lights so we can glow --Get rowdy --Re: little doves --Out of the strong, something sweet --The lengths --Small and high up --Small are dark, some are light, summer melts --Bright --Dark and sweaty and dirty --Home safe --Teenage dreams time machine --Rope burns --Get Faye & Birdie --The Darl Inn --You should love the right things --And down we go! --Crepuscular --Stay and stay and stay --Two cherries under a lavender moon --When it gets warm --Boy smoke --Dandelion light --California, keep us --Cloud report --Downright --You got me --Eine kleine nachmusik --A girl has her secrets --Vincent