In This Will Be My Undoing, she takes on perhaps one of the most provocative contemporary topics: What does it mean to “be”—to live as, to exist as—a black woman today? This is a book about black women, but it’s necessary reading for all Americans.

    Like a cat, Kristen sees in the dark, as she guides us gracefully forward with her vision of unapologetic, feminine power.” —From the Foreword by Pam Grossman, author of Waking the Witch: Reflections on Women, Magic, and PowerThe cat: A sensual shapeshifter. A hearth keeper, aloof, tail aloft, stalking vermin. A satanic accomplice. A beloved familiar. A social media darling. A euphemism for reproductive parts. An epithet for the weak. A knitted—and contested—hat on millions of marchers, fists in the air, pink pointed ears poking skyward. Cats and cat references are ubiquitous in art, pop culture, politics, and the occult, and throughout history, they have most often been coded female.From the “crazy cat lady” unbowed by patriarchal prescriptions to the coveted sex kitten to the dreadful crone and her yowling compatriot, feminine feline archetypes reveal the ways in which women have been revered and reviled around the world—in Greek and Egyptian mythology, the European witch trials, Japanese folklore, and contemporary film.By combining historical research, pop culture, art analyses, and original interviews, Cat Call explores the cat and its indivisible connection to femininity and teases out how this connection can help us better understand the relationship between myth, history, magic, womanhood in the digital age, and our beloved, clawed companions.

    Period. is an agenda-setting manifesto to remove the stigma and myths continuing to surround the female body. Bold and unapologetic, Emma Barnett is on a crusade to ignite conversation among women--and men--everywhere.

    Wells to Sandra Bland and Black Lives Matter, black women freedom fighters have braved violence, scorn, despair, and isolation in order to lodge their protests. In A Bound Woman Is a Dangerous Thing, DaMaris Hill honors their experiences with at times harrowing, at times hopeful responses to her heroes, illustrated with black-and-white photographs throughout.For black American women, the experience of being bound has taken many forms: from the bondage of slavery to the Reconstruction-era criminalization of women; from the brutal constraints of Jim Crow to our own era’s prison industrial complex, where between 1980 and 2014, the number of incarcerated women increased by 700%.* For those women who lived and died resisting the dehumanization of confinement--physical, social, intellectual--the threat of being bound was real, constant, and lethal.In A Bound Woman Is a Dangerous Thing, Hill presents bitter, unflinching history that artfully captures the personas of these captivating, bound yet unbridled African-American women. Hill's passionate odes to Zora Neale Hurston, Lucille Clifton, Fannie Lou Hamer, Grace Jones, Eartha Kitt, and others also celebrate the modern-day inheritors of their load and light, binding history, author, and reader in an essential legacy of struggle.*(The Sentencing Project)

    The Guerrilla Girls, notorious for their outrageous take on women's issues, now tackle the maze of stereotypes that follow women from cradle to grave. With subversive use of information—and great visuals—they explore the history and significance of stereotypes like Old Maid, Trophy Wife, and Prostitute with a Heart of Gold. They tag the Top Types, examine sexual slurs, explain the evolution of butches and femmes, and delve into the lives of real and fictional women who have become stereotypes, from Aunt Jemima to Tokyo Rose to June Cleaver. The Guerrilla Girls' latest assault on injustice towards women will make people laugh, make them mad, and maybe even make them change their minds.

    From gender-based discrimination in work places, to unsolicited groping from strangers in public, to the attempted assaults on herself and the assaults of close friends, Woods uses personal stories to prove that sexual violence and discrimination never just happen once, but that it is a consistent battle women and woman aligned people face every day. "All my life, when I've tried to talk to men about sexism, my main obstacle has just been trying to convince them it exists, and that it is something that actually has a deep and near constant impact on my life. When I talk to most women, though, [. . .] there is immediate understanding that the incidents we are discussing are part of an endless stream of sexist experiences."100 Things is powerful in its straightforwardness, demonstrating how often women are forced to silently endure sexism and harassment and how men are encouraged to feel entitled to another person's space and body. Woods reveals that no age, orientation, time, or place helps prevent sexual violence and that a more in depth conversation is needed to bring it to an end.

    Beguines were laywomen, not nuns, and thus did not take solemn vows and did not live in monasteries. The beguines were a phenomenal movement that swept across Europe yet they were never a religious order or a formalized movement. But there were common elements that rendered these women distinctive and familiar, including their common way of life, their unusual business acumen, and their commitment to the poor and marginalized. These women were essentially self-defined, in opposition to the many attempts to control and define them. They lived by themselves or together in so-called beguinages, which could be single houses for as few as a handful of beguines or, as in Brugge and Amsterdam, walled-in rows of houses (enclosing a central court with a chapel) where over a thousand beguines might live—a village of women within a medieval town or city. And each region of Europe has its own beguine stories to tell. Among the beguines were celebrated spiritual writers and mystics, including Mechthild of Magdeburg, Beatrijs of Nazareth, Hadewijch of Brabant, and Marguerite Porete, who was condemned as a heretic and burned at the stake in Paris in 1310. She was not the only beguine suspected of heresy, and often politics were the driving force behind such charges. Certain clerics defended beguines against charges of heresy, while other women had to go undercover by joining a Benedictine or Cistercian monastery. Amazingly, many beguine communities survived for a long time despite oppression, wars, the plague, and other human and natural disasters. Beguines lived through—and helped propel—times of great transition and reform. Beguines courageously spoke to power and corruption, never despairing of God’s compassion for humanity. They used their business acumen to establish and support ministries that extended education, health care, and other social services to the vulnerable. And they preached and taught of a loving God who desired a relationship with each individual person while calling to reform those who used God’s name for personal gain. What strength of spirit protected the lives of these women and their beguinages? What can we learn from them? What might they teach us? The beguines have much to say to our world today. This book invites us to listen to their voices, to discover them anew.

    Both one woman’s quest for a place to call “home” and an investigation into a people’s search for the Promised Land, this landmark work of creative nonfiction is a trenchant inquiry into contemporary and historical ethnic displacement.At the age of twenty-three, award-winning writer Emily Raboteau traveled to Israel to visit her childhood best friend. While her friend appeared to have found a place to belong, Raboteau could not yet say the same for herself. As a biracial woman from a country still divided along racial lines, she’d never felt at home in America. But as a reggae fan and the daughter of a historian of African-American religion, Raboteau knew of "Zion" as a place black people yearned to be. She’d heard about it on Bob Marley’s Exodus and in the speeches of Martin Luther King. She understood it as a metaphor for freedom, a spiritual realm rather than a geographical one. Now in Israel, the Jewish Zion, she was surprised to discover black Jews. More surprising was the story of how they got there. Inspired by their exodus, Raboteau sought out other black communities that left home in search of a Promised Land. Her question for them is same she asks herself: have you found the home you’re looking for? On her ten-year journey back in time and around the globe, through the Bush years and into the age of Obama, Raboteau wanders to Jamaica, Ethiopia, Ghana, and the American South to explore the complex and contradictory perspectives of Black Zionists. She talks to Rastafarians and African Hebrew Israelites, Evangelicals and Ethiopian Jews, and Katrina transplants from her own family—people that have risked everything in search of territory that is hard to define and harder to inhabit. Uniting memoir with historical and cultural investigation, Raboteau overturns our ideas of place and patriotism, displacement and dispossession, citizenship and country in a disarmingly honest and refreshingly brave take on the pull of the story of Exodus.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    While growing up in housing projects in Puerto Rico and Miami Beach, Jaquira Díaz found herself caught between extremes: as her family split apart and her mother battled schizophrenia, she was surrounded by the love of her friends; as she longed for a family and home, she found instead a life upended by violence. From her own struggles with depression and sexual assault to Puerto Rico’s history of colonialism, every page of Ordinary Girls vibrates with music and lyricism. Díaz triumphantly maps a way out of despair toward love and hope to become her version of the girl she always wanted to be.With a story reminiscent of Tara Westover’s Educated, Roxane Gay’s Hunger, and Terese Marie Mailhot’s Heart Berries, Jaquira Díaz delivers a memoir that reads as electrically as a novel.

    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.

    They opened doors to the world’s oldest library. They ruled, started movements, and spread knowledge. Today, Muslim women continue to make history. Once upon a time, they were children with dreams, just like you. Discover the true stories of nineteen unstoppable Muslim women of the twenty-first century who have risen above challenges, doubts, and sometimes outright hostility to blaze trails in a wide range of fields. Whether it was the culinary arts, fashion, sports, government, science, entertainment, education, or activism, these women never took “no” for an answer or allowed themselves to be silenced. Instead, they worked to rise above and not only achieve their dreams, but become influential leaders. Through short, information-rich biographies and vibrant illustrations, Muslim Girls Rise introduces young readers to the diverse and important contributions Muslim women have made, and role models they may never have heard of before, but whose stories they will never forget.

    . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more.Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression.

    With gorgeous, hand-painted illustrations, Menéndez shines a spotlight on the power of childhood dreams.From Supreme Court Justice Sonia Sotomayor to singer Selena Quintanilla to NASA's first virtual reality engineer, Evelyn Miralles, this is a book for aspiring artists, scientists, activists, and more. These women followed their dreams--and just might encourage you to follow yours!The book features Sor Juana Inés de la Cruz, Juana Azurduy de Padilla, Policarpa Salavarrieta, Rosa Peña de González, Teresa Carreño, Zelia Nuttall, Antonia Navarro, Matilde Hidalgo, Gabriela Mistral, Juana de Ibarbourou, Pura Belpré, Gumercinda Páez, Frida Kahlo, Julia de Burgos, Chavela Vargas, Alicia Alonso, Victoria Santa Cruz, Claribel Alegría, Celia Cruz, Dolores Huerta, Rita Moreno, Maria Auxiliadora da Silva, Mercedes Sosa, Isabel Allende, Susana Torre, Julia Alvarez, Sandra Cisneros, Sonia Sotomayor, Rigoberta Menchú Tum, Mercedes Doretti, Sonia Pierre, Justa Canaviri, Evelyn Miralles, Selena Quintanilla, Berta Cáceres, Serena Auñón, Wanda Díaz-Merced, Marta Vieira da Silva, Alexandria Ocasio-Cortez, and Laurie Hernandez.Godwin Books

    Here, in journal form, is the story of her illness, her healing process, and her acceptance of life and death. Breathtakingly honest about the factors she feels contributed to her cancer, Woodman also explains how she drew upon every resource-physical and spiritual-available to her to come to terms with her illness. Dreams and imagery, self-reflection and body work, and both traditional and alternative medicine play distinctive roles in Woodman's recovery. Her personal treasury of art, photographs, and quotations-from Dickinson to Blake to Rumi-embellish this unique chronicle of a very personal journey toward transformation.