Published decades ago, it made women's voices heard, in their own right, with their own integrity, for virtually the 1st time in social scientific theorizing about women. Its impact was immediate & continues in the academic world & beyond. Translated into 16 languages, with over 750,000 copies sold. In a Different Voice has inspired new research, new educational initiatives & political debate--& helped many women & men to see themselves & each other in a different light. Gilligan believes that psychology has persistently & systematically misunderstood women: their motives, their moral commitments, the course of their psychological growth & their special view of what is important in life. Here she sets out to correct psychology's misperceptions & refocus its view of female personality. The result is a tour de force, which may reshape much of what psychology now has to say about female experience.AcknowledgmentsIntroductionWoman's place in man's life cycleImages of relationship Concepts of self & moralityCrisis & transition Women's rights & women's judgmentVisions of maturityReferencesIndex of Study ParticipantsGeneral Index

    As America's first viable female candidate for president, she has become the repository of many women's contradictory hopes and fears. To some she's a sellout who changed her name and her hairstyle when it suited her husband's career; to others she's a hardworking idealist with the political savvy to work effectively within the system. Where one person sees a carpetbagger, another sees a dedicated politician; where one sees a humiliated and long-suffering wife, another sees a dignified First Lady. Is she tainted by the scandals of her husband's presidency, or has she gained experience and authority from weathering his missteps? Cold or competent, overachiever or pioneer, too radical or too moderate, Hillary Clinton continues to overturn the assumptions we make about her.In Thirty Ways of Looking at Hillary, New Yorker editor Susan Morrison has compiled this timely collection of thirty original pieces by America's most notable women writers. This pointillistic portrait paints a composite picture of Hillary Clinton, focusing on details from the personal to the political, from the hard-hitting to the whimsical, to give a well-balanced and unbiased view of the woman who may be our first Madam President. Taken together, these essays—by such renowned writers as Daphne Merkin, Lorrie Moore, Deborah Tannen, Susan Cheever, Lionel Shriver Kathryn Harrison, and Susan Orlean—illuminate the attitudes that women have toward the powerful women around them and constitute a biography that is must reading for anyone interested in understanding this complex and controversial politician.

    Somewhere between the exhilarating rise of Girl Power in the 1990s and today, the pursuit of physical perfection has been recast as the source of female empowerment. And commercialization has spread the message faster and farther, reaching girls at ever-younger ages. But how dangerous is pink and pretty, anyway? Being a princess is just make-believe; eventually they grow out of it . . . or do they?In search of answers, Peggy Orenstein visited Disneyland, trolled American Girl Place, and met parents of beauty-pageant preschoolers tricked out like Vegas showgirls. The stakes turn out to be higher than she ever imagined. From premature sexualization to the risk of depression to rising rates of narcissism, the potential negative impact of this new girlie-girl culture is undeniable—yet armed with awareness and recognition, parents can effectively counterbalance its influence in their daughters' lives.

    She explores the demands placed upon women to fit an established mold, examines female stereotypes, and celebrates the hard-won advances in women's lifestyle and attire. At once profound, revolutionary, empowering, and entertaining, "Femininity "challenges the accepted female norm while appreciating the women throughout history who have courageously broken free of its constraints

    It presents a multidisciplinary collection of academic essays and analyses, personal narratives, and fiction and poetry about women's lives. The selections illustrate the variety of women's experiences, primarily in the United States, considering both commonalities and differences among women and appreciating women's diverse approaches to living and fostering change.

    To put things simply: If women today were happy, "Ally McBeal" would not be such a huge TV hit — a television phenomenon that not only provokes endless discussion nationwide but also has the distinction of mention in a Time Magazine cover story addressing the state of feminism.The anxiety-riddled character "Ally McBeal" has tapped into something simmering beneath the surface of today's professional, "successful" women. It's called misery. Worse, it's called misery without a comprehensible origin. It is this odd, pervasive unhappiness that Danielle Crittenden confronts in her fascinating, enlightening book What Our Mothers Didn't Tell Us.The premise of What Our Mothers Didn't Tell Us is that with all of the success of feminism — all of the doors that have been opened, all of the new freedoms women of this generation enjoy — "we may have inadvertently also smashed the foundations necessary for our happiness." Crittenden does not in any way suggest women revert back to the pre-Feminine Mystique days of suburban housewife malaise, but she does confront the possibility that there might have been some crucial good in many of the old patterns of living that women today reject entirely. Crittenden explains that women in the '90s have "heeded their mother's advice: Do something with your life; don't depend upon a man to take care of you; don't make the same mistakes I did. So they have made different mistakes. They are the women who postponed marriage and childbirth to pursue their careers only tofindthemselves at 35 still single and baby-crazy, with no husband in sight. They are the unwed mothers who now depend on the state to provide what the fathers of their children won't — a place to live and an income to raise their kids on. They are the eighteen-year-old girls who believed they could lead the unfettered sexual lives of men, only to have ended up in an abortion clinic or attending grade twelve English while eight months pregnant. They are the new brides who understand that when a couple promises to stay together 'forever,' they have little better than a 50-50 chance of sticking to it. They are the female partners at law firms who thought they'd made provisions for everything about their career — except for that sudden, unexpected moment when they find their insides shredding the first day they return from maternity leave, having placed their infants in a stranger's arms."What Our Mothers Didn't Tell Us examines the new problems in today's society and outlines the erroneous ways of thinking that created these problems. With a lighthearted tone and good humor throughout, Crittenden intelligently leads readers through an exploration of love, marriage, motherhood, and even aging. Her examination of dating among women in their 20s and 30s is fascinating, harsh — and yes, depressing. She paints a stark portrait of women in their 20s who brush aside sincere suitors because they believe they're too young to consider marriage, only to discover in their mid-30s that the crowd beating down their door has thinned considerably — and perhaps irrevocably. There is perhaps no more salient truth in Crittenden's book than her statement, "It is usually at precisely this moment — when a single woman looks up from her work and realizes she's ready to take on family life — that men make themselves most absent." Further, it is impossible to deny that in terms of sexual appeal, men have a longer shelf life. A successful man can attract women of any age well into his 50s, 60s...or beyond. They can father children well into old age. And according to Crittenden, "this disparity in sexual staying power is something feminists rather recklessly overlooked when they urged women to abandon marriage and domesticity in favor of autonomy and self-fulfillment outside the home."According to Crittenden, even when a young woman today manages to get married, she is most likely not headed down the path to wedded bliss. In striving so furiously not to be taken for granted as wives were in previous generations, women today often err too far in the opposite direction. Crittenden makes ironic mention of Gloria Steinem's remark that women have become "the husbands we wanted to marry"; Crittenden suggests that perhaps women today are more likely to resemble the husbands we left behind: "balky, self-absorbed, and supremely sure that our needs should come before anyone else's." Crittenden warns that a sense of entitlement devoid of compromise is not likely to lead women into enduring, happy unions.But the most significant arena of mixed messages is the realm of motherhood. Crittenden is unflinching in her look at the tug of war between work responsibility and the job of motherhood. She explores the myriad decisions and conflicts that arise upon the birth of a child. Some women are eager to return to work but feel guilty leaving their child. Some women are desperate to remain at home with their child but cannot afford to do so. Other women would prefer to remain home with their child, and can afford to do so, but are wary of leaving their jobs because if they ever need to return to the workforce they will have lost their foothold. Crittenden is critical of our culture's pervasive attitude that suggests a woman is not "doing anything" once she steps out of the workforce — an attitude that could only hold weight in a society such as ours in which "the virtues of work have been so inflated that we can no longer appreciate anything that's not accompanied by a paycheck." And as for the idea that work is a liberating alternative to the drudgery of housework and childrearing, Crittenden suggests that the number of people who have interesting, fulfilling jobs are in the great minority. Crittenden calls for women to reevaluate what they have been socialized to believe — that work offers a more defining sense of self than raising children.So, what did our mothers never tell us? Maybe they did not tell us what Crittenden explains very carefully: Women can't have it both ways. They probably can't have "it all." Life, relationships, careers...all are full of compromises that are natural and not necessarily a threat to who we are as individuals. Crittenden asserts that "If we wish to live for ourselves and think only about ourselves, we will manage to retain our independence but little else."What Our Mothers Didn't Tell Us offers a revised perspective on womanhood that is truly liberating. — Isabel Rifkin

    Psychoanalyst Jean Bolen's career soared in the early 1980s when Goddesses in Everywoman was published. Thousands of women readers became fascinated with identifying their own inner goddesses and using these archetypes to guide themselves to greater self–esteem, creativity, and happiness.Bolen's radical idea was that just as women used to be unconscious of the powerful effects that cultural stereotypes had on them, they were also unconscious of powerful archetypal forces within them that influence what they do and how they feel, and which account for major differences among them. Bolen believes that an understanding of these inner patterns and their interrelationships offers reassuring, true–to–life alternatives that take women far beyond such restrictive dichotomies as masculine/feminine, mother/lover, careerist/housewife. And she demonstrates in this book how understanding them can provide the key to self–knowledge and wholeness.Dr. Bolen introduced these patterns in the guise of seven archetypal goddesses, or personality types, with whom all women could identify, from the autonomous Artemis and the cool Athena to the nurturing Demeter and the creative Aphrodite, and explains how to decide which to cultivate and which to overcome, and how to tap the power of these enduring archetypes to become a better "heroine" in one's own life story.

    This moving and insightful bestseller, based on in-depth interviews with 135 women, explains why they feel this way. Updated with a new preface exploring how the authors' collaboration and research developed, this tenth anniversary edition addresses many of the questions that the authors have been asked repeatedly in the years since Women's Ways of Knowing was originally published.

    In a new afterword, "Letters from Ground Zero," Morgan offers her eyewitness account of the physical and emotional devastation caused by the assault on New York's World Trade Center and the global struggle in its aftermath. First published in 1989, The Demon Lover is now more timely than ever: a personal journey as well as a landmark work of investigative journalism. Traveling to the Middle East refugee camps, she gathered the first interviews with Palestinian women about their lives as women, and re-encountered the core connection between patriarchal societies and the inevitability of terrorism. In her final chapter, "Beyond Terror," Morgan sets forth a compelling vision of hope for the future.

    She was married with children and a good career. So why did she feel miserable? And why did it seem that other Generation X women were miserable, too?Calhoun decided to find some answers. She looked into housing costs, HR trends, credit card debt averages, and divorce data. At every turn, she saw a pattern: sandwiched between the Boomers and the Millennials, Gen X women were facing new problems as they entered middle age, problems that were being largely overlooked.Speaking with women across America about their experiences as the generation raised to “have it all,” Calhoun found that most were exhausted, terrified about money, under-employed, and overwhelmed. Instead of being heard, they were told instead to lean in, take “me-time,” or make a chore chart to get their lives and homes in order.In Why We Can’t Sleep, Calhoun opens up the cultural and political contexts of Gen X’s predicament and offers solutions for how to pull oneself out of the abyss—and keep the next generation of women from falling in. The result is reassuring, empowering, and essential reading for all middle-aged women, and anyone who hopes to understand them.

    We see how these brilliant minds get to work, the choices they have to make: rebuffing convention, stealing (or secreting away) time from the pull of husbands, wives, children, obligations, in order to create their creations.From those who are the masters of their craft (Eudora Welty, Lynn Fontanne, Penelope Fitzgerald, Marie Curie) to those who were recognized in a burst of acclaim (Lorraine Hansberry, Zadie Smith) . . . from Clara Schumann and Shirley Jackson, carving out small amounts of time from family life, to Isadora Duncan and Agnes Martin, rejecting the demands of domesticity, Currey shows us the large and small (and abiding) choices these women made--and continue to make--for their art: Isak Dinesen, "I promised the Devil my soul, and in return he promised me that everything I was going to experience would be turned into tales," Dinesen subsisting on oysters and Champagne but also amphetamines, which gave her the overdrive she required . . . And the rituals (daily and otherwise) that guide these artists: Isabel Allende starting a new book only on January 8th . . . Hilary Mantel taking a shower to combat writers' block ("I am the cleanest person I know") . . . Tallulah Bankhead coping with her three phobias (hating to go to bed, hating to get up, and hating to be alone), which, could she "mute them," would make her life "as slick as a sonnet, but as dull as ditch water" . . . Lillian Hellman chain-smoking three packs of cigarettes and drinking twenty cups of coffee a day--and, after milking the cow and cleaning the barn, writing out of "elation, depression, hope" ("That is the exact order. Hope sets in toward nightfall. That's when you tell yourself that you're going to be better the next time, so help you God.") . . . Diane Arbus, doing what "gnaws at" her . . . Colette, locked in her writing room by her first husband, Henry Gauthier-Villars (nom de plume: Willy) and not being "let out" until completing her daily quota (she wrote five pages a day and threw away the fifth). Colette later said, "A prison is one of the best workshops" . . . Jessye Norman disdaining routines or rituals of any kind, seeing them as "a crutch" . . . and Octavia Butler writing every day no matter what ("screw inspiration"). Germaine de Staël . . . Elizabeth Barrett Browning . . . George Eliot . . . Edith Wharton . . . Virginia Woolf . . . Edna Ferber . . . Doris Lessing . . . Pina Bausch . . . Frida Kahlo . . . Marguerite Duras . . . Helen Frankenthaler . . . Patti Smith, and 131 more--on their daily routines, superstitions, fears, eating (and drinking) habits, and other finely (and not so finely) calibrated rituals that help summon up willpower and self-discipline, keeping themselves afloat with optimism and fight, as they create (and avoid creating) their creations.

    Trump, journalist Seyward Darby went looking for the women of the so-called alt-right--really just white nationalism with a new label. The mainstream media depicted the alt-right as a bastion of angry white men, but was it? As women headlined resistance to the Trump administration's bigotry and sexism, most notably at the women's marches, Darby wanted to know why others were joining a movement espousing racism and anti-feminism. Who were these women, and what did their activism reveal about America's past, present, and future? Darby researched dozens of women across the country before settling on three: Corinna Olsen, Ayla Stewart, and Lana Lokteff. Each was born in 1979 and became a white nationalist in the post-9/11 era. Their respective stories of radicalization upend much of what we assume about women, politics, and political extremism.

    For several years, Lamb has taught writing to a group of women prisoners at York Correctional Institution in Connecticut. In this unforgettable collection, the women of York describe in their own words how they were imprisoned by abuse, rejection, and their own self-destructive impulses long before they entered the criminal justice system. Yet these are powerful stories of hope and healing, told by writers who have left victimhood behind. In his moving introduction, Lamb describes the incredible journey of expression and self-awareness the women took through their writing and shares how they challenged him as a teacher and as a fellow author. Couldn't Keep It to Myself is a true testament to the process of finding oneself and working toward a better day.

    For its brief but brilliant run from 1988 to 1994, Sassy was the arbiter of all that was hip and cool, inspiring a dogged devotion from its readers while almost single-handedly bringing the idea of girl culture to the mainstream. In the process, Sassy changed the face of teen magazines in the United States, paved the way for the unedited voice of blogs, and influenced the current crop of smart women's zines, such as Bust and Bitch, that currently hold sway.How Sassy Changed My Life will present for the first time the inside story of the magazine's rise and fall while celebrating its unique vision and lasting impact. Through interviews with the staff, columnists, and favorite personalities we are brought behind the scenes from its launch to its final issue and witness its unique fusion of feminism and femininity, its frank commentary on taboo topics like teen sex and suicide, its battles with advertisers and the religious right, and the ascension of its writers from anonymous staffers to celebrities in their own right.

    This groundbreaking work seeks nothing less than fundamental cultural change: the transformation of basic attitudes about power, gender, race, and sexuality.The editors thoroughly reviewed the book for this new edition, selecting eight new essays that address topics such as rape as war crime, sports and sexual violence, sexual abuse among the clergy, conflict between traditional mores and women's rights in the Asian American and Latin American communities, as well insightful analyses of cyberporn.The diverse contributors are activists, opinion leaders, theologians, policymakers, educators, and authors of both genders. An excellent text for undergraduate classes in Women's Studies, Family Sociology or Criminal Justice, the book is being reissued on the 10th anniversary of the Violence Against Women Act.