A dynamic chronicle not just a movement but an era, this is the story of a group of pissed-off girls with no patience for sexism and no intention of keeping quiet.

    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.

    Her work rocked the foundations of the literary canon by castigating time-honored classics for their use of sex to degrade women.

    Women are destroying the joint – Christine Nixon in Melbourne, Clover Moore here. Honestly.’The twitterverse exploded with passionate, disbelieving and hilarious responses, and now here in Destroying the Joint women reply to his comment and the broader issues of sexism and misogyny in our culture.With Jane Caro editing, this entertaining and thought-provoking collection consists of essays, analysis, memoir, fiction and more, from some of our best and brightest.

    It offers a long overdue validation of the experiences of women of color.Discussing subjects as varied as The Hunger Games, Alexandria Ocasio-Cortez, the viral "BBQ Becky" video, and 19th century lynchings of Mexicans in the American Southwest, Ruby Hamad undertakes a new investigation of gender and race. She shows how the division between innocent white women and racialized, sexualized women of color was created, and why this division is crucial to confront.Along the way are revelatory responses to questions such as: Why are white men not troubled by sexual assault of women? With rigor and precision, Hamad builds a powerful argument about the legacy of white superiority we are socialized in, a reality we must apprehend in order to fight.

    And as a black woman in America, she maintains, sometimes you need to have a sense of humor to deal with the absurdity you are handed on the daily. Robinson has experienced her fair share over the years: she's been unceremoniously relegated to the role of "the black friend," as if she is somehow the authority on all things racial; she's been questioned about her love of U2 and Billy Joel ("isn t that . . . white people music?"); she's been called "uppity" for having an opinion in the workplace; she's been followed around stores by security guards; and yes, people do ask her whether they can touch her hair all. the. time. Now, she's ready to take these topics to the page and she s going to make you laugh as she s doing it. Using her trademark wit alongside pop-culture references galore, Robinson explores everything from why Lisa Bonet is "Queen. Bae. Jesus," to breaking down the terrible nature of casting calls, to giving her less-than-traditional advice to the future female president, and demanding that the NFL clean up its act, all told in the same conversational voice that launched her podcast, "2 Dope Queens," to the top spot on iTunes. As personal as it is political, "You Can't Touch My Hair" examines our cultural climate and skewers our biases with humor and heart, announcing Robinson as a writer on the rise."

    The Geek Feminist Revolution also features several entirely new essays written specifically for this volume.Unapologetically outspoken, Hurley has contributed essays to The Atlantic, Locus, Tor.com, and elsewhere on the rise of women in genre, her passion for science fiction and fantasy, and the diversification of publishing.

    And many are so, so tired … But women's pain is all too often dismissed, their illnesses misdiagnosed or ignored. In medicine, man is the default human being. Any deviation is atypical, abnormal, deficient.'Fourteen years after being diagnosed with endometriosis, Gabrielle Jackson couldn't believe how little had changed in the treatment and knowledge of the disease. In 2015, her personal story kick-started a worldwide investigation into the disease by The Guardian; thousands of women got in touch to tell their own stories and many more read and shared the material. What began as one issue led Jackson to explore how women - historically and through to the present day - are under-served by the systems that should keep them happy, healthy and informed about their bodies.Pain and Prejudice is a vital testament to how social taboos and medical ignorance keep women sick and in anguish. The stark reality is that women's pain is not taken as seriously as men's. Women are more likely to be disbelieved and denied treatment than men, even though women are far more likely to be suffering from chronic pain.In a potent blend of personal memoir and polemic, Jackson confronts the private concerns and questions women face regarding their health and medical treatment. Pain and Prejudice, finally, explains how we got here, and where we need to go next.

    In Reality Bites Back, media critic Jennifer L. Pozner aims a critical, analytical lens at a trend most people dismiss as harmless fluff. She deconstructs reality TV’s twisted fairytales to demonstrate that far from being simple “guilty pleasures,” these programs are actually guilty of fomenting gender-war ideology and significantly affecting the intellectual and political development of this generation’s young viewers. She lays out the cultural biases promoted by reality TV about gender, race, class, sexuality, and consumerism, and explores how those biases shape and reflect our cultural perceptions of who we are, what we’re valued for, and what we should view as “our place” in society. Smart and informative, Reality Bites Back arms readers with the tools they need to understand and challenge the stereotypes reality TV reinforces and, ultimately, to demand accountability from the corporations responsible for this contemporary cultural attack on three decades of feminist progress.

    “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.

    They’re taboo. They’re embarrassing. They’re gross. And due to a crumbling or nonexistent national sex ed program, they are misunderstood. Because of these stigmas, a status quo has been established to exclude people who menstruate from the seat at the decision-making table, creating discriminations like the tampon tax, medicines that favor male biology, and more.Power to the Period aims to explain what menstruation is, shed light on the stigmas and resulting biases, and create a strategy to end the silence and prompt conversation about periods.

    In A Room of One's Own (1929), she examines the work of past women writers, and looks ahead to a time when women's creativity will not be hampered by poverty, or by oppression. In Three Guineas (1938), however, Woolf argues that women's historical exclusion offers them the chance to form a political and cultural identity which could challenge the drive towards fascism and war.

    Inspired by activist and writer Rebecca Walker, they speak out, challenging many of their own assumptions about the women's movement and demanding that readers recognize a new relationship between the personal and the political.Black and white, male and female, gay and straight, they fearlessly describe their liberation from the feminist ideals that conflict with the reality of who they are, expose shocking secrets, and acknowledge long-hidden accommodations and anomalies.

    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.

    In lucid, persuasive prose, Brownmiller has created a definitive, devastating work of lasting social importance.Chosen by THE NEW YORK TIMES BOOK REVIEW as One of the Outstanding Books of the Year