In her breakout film, "National Velvet" (1944), Taylor's character challenges gender discrimination,: Forbidden as a girl to ride her beloved horse in an important race, she poses as a male jockey. Her next milestone, "A Place in the Sun" (1951), can be seen as an abortion rights movie--a cautionary tale from a time before women had ready access to birth control. In "Butterfield 8" (1960), for which she won an Oscar, Taylor isn't censured because she's a prostitute, but because she chooses the men: she controls her sexuality, a core tenet of the third-wave feminism that emerged in the 1990s. Even "Who's Afraid of Virginia Woolf?" (1966) depicts the anguish that befalls a woman when the only way she can express herself is through her husband's stalled career and children. The legendary actress has lived her life defiantly in public--undermining post-war reactionary sex roles, helping directors thwart the Hollywood Production Code, which censored film content between 1934 and 1967. Defying death threats she spearheaded fundraising for AIDS research in the first years of the epidemic, and has championed the rights of people to love whom they love, regardless of gender. Yet her powerful feminist impact has been hidden in plain sight. Drawing on unpublished letters and scripts as well as interviews with Kate Burton, Gore Vidal, Austin Pendleton, Kevin McCarthy, Liz Smith, and others, The Accidental Feminist will surprise Taylor and film fans with its originality and will add a startling dimension to the star's enduring mystique.

    The Bitch In the House.Women today have more choices than at any time in history, yet many smart, ambitious, contemporary women are finding themselves angry, dissatisfied, stressed out. Why are they dissatisfied? And what do they really want? These questions form the premise of this passionate, provocative, funny, searingly honest collection of original essays in which twenty-six women writers—ranging in age from twenty-four to sixty-five, single and childless or married with children or four times divorced—invite readers into their lives, minds, and bedrooms to talk about the choices they’ve made, what’s working, and what’s not.With wit and humor, in prose as poetic and powerful as it is blunt and dead-on, these intriguing women offer details of their lives that they’ve never publicly revealed before, candidly sounding off on:• The difficult decisions and compromises of living with lovers, marrying, staying single and having children• The perpetual tug of war between love and work, family and career• The struggle to simultaneously care for ailing parents and a young family• The myth of co-parenting• Dealing with helpless mates and needy toddlers• The constrictions of traditional women’s roles as well as the cliches of feminism• Anger at laid-back live-in lovers content to live off a hardworking woman’s checkbook• Anger at being criticized for one’s weight• Anger directed at their mothers, right and wrong• And–well–more anger...“This book was born out of anger,” begins Cathi Hanauer, but the end result is an intimate sharing of experience that will move, amuse, and enlighten. The Bitch in the House is a perfect companion for your students as they plot a course through the many voices of modern feminism. This is the sound of the collective voice of successful women today-in all their anger, grace, and glory.

    The Atlas of Beauty is a collection of her photographs that celebrates women from fifty countries across the globe and shows that beauty is everywhere, regardless of money, race or social status, and comes in many different sizes and colours. Mihaela's portraits feature women in their native environments, from the Amazon rain forest to markets in India, London city streets and parks in Harlem, creating a mirror of our varied cultures and proving that beauty has no rules.'Stunning . . . aims to challenge the ideals of beauty dictated by the women's fashion magazine industry' Independent'A startling and revealing project' Daily Mail'Scrolling through "The Atlas of Beauty", beauty becomes not a universal standard, but a complicated tapestry' Huffington Post

    These collected interviews reveal her to be much more. She has shared space in her creative life for her career in publishing, in teaching, and in being a single parent. Writing, however, is one thing she "refuses to live without." These interviews beginning in 1974 reveal an artist whose creativity is intimately linked with her African American experience and is fueled by cultural and societal concerns. For twenty years she has created unforgettable characters in her acclaimed novels--The Bluest Eye, Sula, Song of Solomon, Tar Baby, Beloved, and Jazz. Morrison tells her interviewers that her goal as a writer is to present African American life not as sociology but in the full range of its depth, magic, and humanity. "I want my work to capture the vast imagination of black people," she says. "That is, I want my books to reflect the imaginative combination of the real world, the very practical, shrewd, day-to-day functioning that black people do, while at the same time they encompass some great supernatural element." Though the scope and the magnitude of her art have brought her international acclaim, even some of her most ardent admirers have viewed her fiction mainly with a focus on class, race, and gender. In these interviews, however, she addresses the artist's concern with moral vision and with a resistance to critical attitudes that categorize black writing largely as sociology. From these interviews comes a greater understanding of Toni Morrison's purpose and the theme of love that streams through her fiction.

    In this distinctive, engaging, and simply hilarious view of a period of great upheaval in America, Ephron turns her keen eye and wonderful sense of humor to the media, politics, beauty products, and women's bodies. In the famous "A Few Words About Breasts," for example, she tells us: "If I had had them, I would have been a completely different person. I honestly believe that." Ephron brings her sharp pen to bear on the notable women of the time, and to a series of events ranging from Watergate to the Pillsbury Bake-Off. When it first appeared in 1975, Crazy Salad helped to illuminate a new American era—and helped us to laugh at our times and ourselves. This new edition will delight a fresh generation of readers.Contents:A few words about breasts.--Fantasies.--On never having been a prom queen.--The girls in the office.--Reunion.--Miami.--Vaginal politics.--Bernice Gera, first lady umpire.--Deep throat.--On consciousness-raising.--Dealing with the, uh, problem.--The hurled ashtray.--Truth and consequences.--Baking off.--Crazy ladies: I.--The pig.--Dorothy Parker.--A star is born.--Women in Israel: The myth of liberation.--The littlest Nixon.--Divorce, Maryland style.--Rose Mary Woods: the lady or the tiger?--No, but I read the book.--Crazy ladies: II.--Conundrum.Portions of this book have appeared in Esquire magazine, New York magazine, and Rolling Stone.

    Forty-four writers, dancers, actors, and artists contribute essays, lists, poems, comics, and illustrations about everything from body positivity to romance to gender identity to intersectionality to the greatest girl friendships in fiction. Together, they share diverse perspectives on and insights into what feminism means and what it looks like. Come on in, turn the pages, and be inspired to find your own path to feminism by the awesome individuals in Here We Are.Welcome to one of the most life-changing parties around!

    Angier takes readers on a mesmerizing tour of female anatomy and physiology that explores everything from organs to orgasm, and delves into topics such as exercise, menopause, and the mysterious properties of breast milk.A self-proclaimed "scientific fantasia of womanhood." Woman ultimately challenges widely accepted Darwinian-based gender stereotypes. Angier shows how cultural biases have influenced research in evolutionary psychology (the study of the biological bases of behavior) and consequently led to dubious conclusions about "female nature." such as the idea that women are innately monogamous while men are natural philanderers.But Angier doesn't just point fingers; she offers optimistic alternatives and transcends feminist polemics with an enlightened subversiveness that makes for a joyful, fresh vision of womanhood. Woman is a seminal work that will endure as an essential read for anyone intersted in how biology affects who we are as women, as men, and as human beings.

    In the 1940s, a bored heiress began creating dollhouse crime scenes depicting murders, suicides, and accidental deaths. Known as the “Mother of Forensic Science,” she revolutionized the field of what was then called legal medicine. In the aftermath of the Manson Family murders, a young woman moved into Sharon Tate’s guesthouse and, over the next two decades, entwined herself with the Tate family. In the mid-nineties, a landscape architect in Brooklyn fell in love with a convicted murderer, the supposed ringleader of the West Memphis Three, through an intense series of letters. After they married, she devoted her life to getting him freed from death row. And in 2015, a teenager deeply involved in the online fandom for the Columbine killers planned a mass shooting of her own.Each woman, Monroe argues, represents and identifies with a particular archetype that provides an entryway into true crime. Through these four cases, she traces the history of American crime through the growth of forensic science, the evolving role of victims, the Satanic Panic, the rise of online detectives, and the long shadow of the Columbine shooting. In a combination of personal narrative, reportage, and a sociological examination of violence and media in the twentieth and twenty-first century, Savage Appetites scrupulously explores empathy, justice, and the persistent appeal of violence.

    Before our names, before we have likes and dislikes - before we, or anyone else, has any idea who we are. And two years ago, as Juno Dawson went to tell her mother she was (and actually, always had been) a woman, she started to realise just how wrong we've been getting it.Gender isn't just screwing over trans people, it's messing with everyone. From little girls who think they can't be doctors to teenagers who come to expect street harassment. From exclusionist feminists to 'alt-right' young men. From men who can't cry to the women who think they shouldn't. As her body gets in line with her mind, Juno tells not only her own story, but the story of everyone who is shaped by society's expectations of gender - and what we can do about it. Featuring insights from well-known gender, feminist and trans activists including Rebecca Root, Laura Bates, Gemma Cairney, Anthony Anaxagorou, Hannah Witton, Alaska Thunderfuck and many more, The Gender Games is a frank, witty and powerful manifesto for a world in which everyone can truly be themselves.

    Anthony, Simone de Beauvoir, W.E.B. Du Bois, Hélène Cixous, Betty Friedan, Charlotte Perkins Gilman, Emma Goldman, Guerrilla Girls, Ding Ling, Audre Lorde, John Stuart Mill, Christine de Pizan, Adrienne Rich, Margaret Sanger, Huda Shaarawi, Sojourner Truth, Mary Wollstonecraft, and Virginia Woolf.The Essential Feminist Reader is the first anthology to present the full scope of feminist history. Prizewinning historian Estelle B. Freedman brings decades of teaching experience and scholarship to her selections, which span more than five centuries. Moving beyond standard texts by English and American thinkers, this collection features primary source material from around the globe, including short works of fiction and drama, political manifestos, and the work of less well-known writers. Freedman’s cogent Introduction assesses the challenges facing feminism, while her accessible, lively commentary contextualizes each piece. The Essential Feminist Reader is a vital addition to feminist scholarship, and an invaluable resource for anyone interested in the history of women.

    The Chalice and the Blade tells a new story of our cultural origins. It shows that warfare and the war of the sexes are neither divinely nor biologically ordained. It provides verification that a better future is possible—and is in fact firmly rooted in the haunting dramas of what happened in our past.

    Writing about a huge variety of subjects, we have Martha Mosse and Alice Stride on how they became feminists, Amy Annette addressing the body politic, Samira Shackle on having her eyes opened in a hostel for survivors of acid attacks in Islamabad, while Maysa Haque thinks about the way Islam has informed her feminism and Isabel Adomakoh Young insists that women don't have to be perfect. There are twelve other performers, politicians and writers who include Jade Anouka, Emily Benn, Abigail Matson-Phippard, Hajar Wright and Jinan Younis.Is the word feminist still to be shunned? Is feminism still thought of as anti-men rather than pro-human? Is this generation of feminists - outspoken, funny and focused - the best we've had for long while? Has the internet given them a voice and power previously unknown?Rachel Holmes' most recent book is Eleanor Marx: A Life; Victoria Pepe is a literary scout; Amy Annette is a comedy producer currently working on festivals including Latitude; Alice Stride works for Women's Aid and Martha Mosse is a freelance producer and artist.

    M. Forster's Aspects of the Novel and Milan Kundera's The Art of the Novel, How Fiction Works is a scintillating study of the magic of fiction--an analysis of its main elements and a celebration of its lasting power. Here one of the most prominent and stylish critics of our time looks into the machinery of storytelling to ask some fundamental questions: What do we mean when we say we "know" a fictional character? What constitutes a telling detail? When is a metaphor successful? Is Realism realistic? Why do some literary conventions become dated while others stay fresh?James Wood ranges widely, from Homer to Make Way for Ducklings, from the Bible to John le Carré, and his book is both a study of the techniques of fiction-making and an alternative history of the novel. Playful and profound, How Fiction Works will be enlightening to writers, readers, and anyone else interested in what happens on the page.

    When Chickenheads Come Home to Roost is a decidedly intimate look into the life of the modern black woman: a complex world where feminists often have not-so-clandestine affairs with the most sexist of men; where women who treasure their independence often prefer men who pick up the tab; where the deluge of babymothers and babyfathers reminds black women, who long for marriage, that traditional nuclear families are a reality for less than 40 percent of the African-American population; and where black women are forced to make sense of a world where "truth is no longer black and white but subtle, intriguing shades of gray." Morgan ushers in a voice that, like hiphop - the cultural movement that defines her generation - samples and layers many voices, and injects its sensibilities into the old and flips it into something new, provocative, and powerful.

    Preciado shows the ways in which the synthesis of hormones since the 1950s has fundamentally changed how gender and sexual identity are formulated, and how the pharmaceutical and pornography industries are in the business of creating desire. This riveting continuation of Michel Foucault's The History of Sexuality also includes Preciado's diaristic account of his own use of testosterone every day for one year, and its mesmerizing impact on his body as well as his imagination.