Over the next fifteen years, Lorde and Parker shared ideas, advice, and confidences through the mail. They sent each other handwritten and typewritten letters and postcards often with inserted items including articles, money, and video tapes. Sister Love: The Letters of Audre Lorde and Pat Parker 1974-1989 gathers this correspondence for readers to eavesdrop on Lorde and Parker. They discuss their work as writers as well as intimate details of their lives, including periods when each lived with cancer. Sister Love is a rare opportunity to glimpse inside the minds and friendship of two great twentieth century poets.

    Foregrounding the state-sanctioned murder of Eric Garner in a historical analysis of the policing, disenfranchisement, and invisibilizing of fat Black men and trans and nonbinary AMAB people, Harrison discusses the pervasive, insidious ways that anti-fat anti-Blackness shows up in everyday life. Fat people can be legally fired in 49 states for being fat; they’re more likely to be houseless. Fat people die at higher rates from misdiagnosis or non-treatment; fat women are more likely to be sexually assaulted. And at the intersections of fatness, race, disability, and gender identity, these abuses are exacerbated.Taking on desirability politics, f*ckability, healthism, hyper-sexualization, invisibility, and the connections between anti-fatness and police violence, Harrison viscerally and vividly illustrates the myriad harms of anti-fat anti-Blackness–and offers strategies for dismantling denial, unlearning the cultural programming that says “fat is bad,” and moving beyond the world we have now toward one that makes space for the fat and Black.

    What impact do these images and ideas have on people's identities?The new edition of Media, Gender and Identity is a highly readable introduction to the relationship between media and gender identities today. Fully revised and updated, including new case studies and a new chapter, it considers a wide range of research and provides new ways for thinking about the media's influence on gender and sexuality.David Gauntlett discusses movies such as Knocked Up and Spiderman 3, men's and women's magazines, TV shows, self-help books, YouTube videos, and more, to show how the media play a role in the shaping of individual self-identities.The book includes:a comparison of gender representations in the past and today, from James Bond to Ugly Bettyan introduction to key theorists such as Judith Butler, Anthony Giddens and Michel Foucault an outline of creative approaches, where identities are explored with video, drawing, or Lego bricks a Companion Website with extra articles, interviews and selected links, at: www.theoryhead.com.

    prisons has increased more than 450%. Despite a crime rate that has been falling steadily for decades, California has led the way in this explosion, with what a state analyst called “the biggest prison building project in the history of the world.” Golden Gulag provides the first detailed explanation for that buildup by looking at how political and economic forces, ranging from global to local, conjoined to produce the prison boom. In an informed and impassioned account, Ruth Wilson Gilmore examines this issue through statewide, rural, and urban perspectives to explain how the expansion developed from surpluses of finance capital, labor, land, and state capacity. Detailing crises that hit California’s economy with particular ferocity, she argues that defeats of radical struggles, weakening of labor, and shifting patterns of capital investment have been key conditions for prison growth. The results—a vast and expensive prison system, a huge number of incarcerated young people of color, and the increase in punitive justice such as the “three strikes” law—pose profound and troubling questions for the future of California, the United States, and the world. Golden Gulag provides a rich context for this complex dilemma, and at the same time challenges many cherished assumptions about who benefits and who suffers from the state’s commitment to prison expansion.

    They have presided over multinational feminist organizations and written much of what we consider the feminist canon, espousing sexual liberation and satisfaction, LGBTQ inclusion, and racial solidarity, all while branding the language of the movement itself in whiteness and speaking over Black and Brown women in an effort to uphold privilege and perceived cultural superiority. An American Muslim woman, attorney, and political philosopher, Rafia Zakaria champions a reconstruction of feminism in Against White Feminism, centering women of color in this transformative overview and counter-manifesto to white feminism’s global, long-standing affinity with colonial, patriarchal, and white supremacist ideals.Covering such ground as the legacy of the British feminist imperialist savior complex and “the colonial thesis that all reform comes from the West” to the condescension of the white feminist–led “aid industrial complex” and the conflation of sexual liberation as the “sum total of empowerment,” Zakaria follows in the tradition of intersectional feminist forebears Kimberlé Crenshaw, Adrienne Rich, and Audre Lorde. Zakaria ultimately refutes and reimagines the apolitical aspirations of white feminist empowerment in this staggering, radical critique, with Black and Brown feminist thought at the forefront.

    At its center is a romance: the story of the author's relationship with the artist Harry Dodge. This story, which includes Nelson's account of falling in love with Dodge, who is fluidly gendered, as well as her journey to and through a pregnancy, offers a firsthand account of the complexities and joys of (queer) family-making.Writing in the spirit of public intellectuals such as Susan Sontag and Roland Barthes, Nelson binds her personal experience to a rigorous exploration of what iconic theorists have said about sexuality, gender, and the vexed institutions of marriage and child-rearing. Nelson's insistence on radical individual freedom and the value of caretaking becomes the rallying cry of this thoughtful, unabashed, uncompromising book.

    Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text.Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television."We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect.The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance.These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination.In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

    Too sensitive, or not sensitive enough. Too dowdy or too made-up. Too big or too thin. Sluts or prudes. We are harassed, told we are asking for it, and asked if it would kill us to smile. Yes, yes it would.Contrary to the rhetoric of popular “self-help” and an entire lifetime of being told otherwise, our rage is one of the most important resources we have, our sharpest tool against both personal and political oppression. We’ve been told for so long to bottle up our anger, letting it corrode our bodies and minds in ways we don’t even realize. Yet our anger is a vital instrument, our radar for injustice and a catalyst for change. On the flip side, the societal and cultural belittlement of our anger is a cunning way of limiting and controlling our power.We are so often told to resist our rage or punished for justifiably expressing it, yet how many remarkable achievements in this world would never have gotten off the ground without the kernel of anger that fueled them? Rage Becomes Her makes the case that anger is not what gets in our way, it is our way, sparking a new understanding of one of our core emotions that will give women a liberating sense of why their anger matters and connect them to an entire universe of women no longer interested in making nice at all costs.Following in the footsteps of classic feminist manifestos like The Feminine Mystique and Our Bodies, Ourselves, Rage Becomes Her is an eye-opening book for the twenty-first century woman: an engaging, accessible credo offering us the tools to re-understand our anger and harness its power to create lasting positive change.

    "Important and innovative."--Feminist Bookstore News

    She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

    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.

    Mariam felt pretty sure she didn’t know a single Muslim woman who would describe herself that way. Why was she hearing about Muslim women from people who were neither Muslim, nor female?Years later the state of the national discourse has deteriorated even further, and Muslim women’s voices are still pushed to the fringes – the figures leading the discussion are white and male.Taking one of the most politicized and misused words associated with Muslim women and Islamophobia, It’s Not About the Burqa is poised to change all that. Here are voices you won’t see represented in the national news headlines: seventeen Muslim women speaking frankly about the hijab and wavering faith, about love and divorce, about feminism, queer identity, sex, and the twin threats of a disapproving community and a racist country. Funny, warm, sometimes sad, and often angry, each of these essays is a passionate declaration, and each essay is calling time on the oppression, the lazy stereotyping, the misogyny and the Islamophobia.What does it mean, exactly, to be a Muslim woman in the West today? According to the media, it’s all about the burqa.Here’s what it’s really about.

    Queering Sexual Violence: Radical Voices from Within the Anti-Violence Movement locates them at the center of the anti-violence movement and creates a space for their voices to be heard. Moving beyond dominant narratives and the traditional “violence against women” framework, the book is multi-gendered, multi-racial and multi-layered. This thirty-seven piece collection disrupts the mainstream conversations about sexual violence and connects them to disability justice, sex worker rights, healing justice, racial justice, gender self-determination, queer & trans liberation and prison industrial complex abolition through reflections, personal narrative, and strategies for resistance and healing. Where systems, institutions, families, communities and partners have failed them, this collection lifts them up, honors a multitude of lived experiences and shares the radical work that is being done outside mainstream anti-violence and the non-profit industrial complex.