On the basis of years of research, interviews with dozens of the central figures, and her own personal experience, Evans explores how the political stance of these women was catalyzed and shaped by their sharp disillusionment at a time when their skills as political activists were newly and highly developed, enabling them to join forces to support their own cause.

    Beginning with its first publication as a cautionary tale on the perils of seduction, written in reaction to the licentiousness of the court of Louis XIV, Orenstein traces the many lives the tale has lived since then, from its appearance in modern advertisements for cosmetics and automobiles, the inspiration it brought to poets such as Anne Sexton, and its starring role in pornographic films. In Little Red Riding Hood Uncloaked, Red appears as seductress, hapless victim, riot grrrrl, femme fatale, and even she-wolf, as Orenstein shows how through centuries of different guises, the story has served as a barometer of social and sexual mores pertaining to women. Full of fascinating history, generous wit, and intelligent analysis, Little Red Riding Hood Uncloaked proves that the story of one young girl's trip through the woods continues to be one of our most compelling modern myths.

    So says the Marquis de Sade, philosopher and pornographer. His virtuous Justine, who keeps to the rules, is rewarded with rape and humiliation; his Juliette, Justine's triumphantly monstrous antithesis, viciously exploits her sexuality.With brilliance and wit, Angela Carter takes on these outrageous figments of de Sade's extreme imagination and transforms them into symbols of our time: The Hollywood sex goddesses, mothers and daughters, pornography, even the sacred shrines of sex and marriage lie devastatingly exposed before our eyes.Author Bio: Angela Carter (1940-1992) was best known for her subversive short stories, including her most famous collection, The Bloody Chamber. Carter translated the fairy tales of Charles Perrault, and wrote the screenplay for Neil Jordan's 1984 film, The Company of Wolves, based on her short story.

    methodologically innovative... precise and perceptive and conscious... " --Text and Performance QuarterlyWoman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color." --Chandra Talpade MohantyThe idea of Trinh T. Minh-ha is as powerful as her films... formidable... " --Village Voice... its very forms invite the reader to participate in the effort to understand how language structures lived possibilities." --ArtpaperHighly recommended for anyone struggling to understand voices and experiences of those 'we' label 'other'." --Religious Studies Review

    In Canada, the Caribbean, and the United States, black women inhabit diasporic locations marked by the legacy of violence and slavery. Analyzing diverse literatures and material geographies, McKittrick reveals how human geographies are a result of racialized connections, and how spaces that are fraught with limitation are underacknowledged but meaningful sites of political opposition. Demonic Grounds moves between past and present, archives and fiction, theory and everyday, to focus on places negotiated by black women during and after the transatlantic slave trade. Specifically, the author addresses the geographic implications of slave auction blocks, Harriet Jacobs’s attic, black Canada and New France, as well as the conceptual spaces of feminism and Sylvia Wynter’s philosophies. Central to McKittrick’s argument are the ways in which black women are not passive recipients of their surroundings and how a sense of place relates to the struggle against domination. Ultimately, McKittrick argues, these complex black geographies are alterable and may provide the opportunity for social and cultural change. Katherine McKittrick is assistant professor of women’s studies at Queen’s University.

    Here, women live within stringently enforced doctrines of wifely submission and male headship, and live by the Quiverfull philosophy of letting God give them as many children as possible so as to win the religion and culture wars through demographic means.From the Trade Paperback edition.

    So too is a fat woman, a horny woman, a woman shrieking with laughter. Women who are one or more of these things have heard, or perhaps simply intuited, that we are repugnantly excessive, that we have taken illicit liberties to feel or fuck or eat with abandon. After bellowing like a barn animal in orgasm, hoovering a plate of mashed potatoes, or spraying out spit in the heat of expostulation, we've flinched-ugh, that was so gross. I am so gross. On rare occasions, we might revel in our excess--belting out anthems with our friends over karaoke, perhaps--but in the company of less sympathetic souls, our uncertainty always returns. A woman who is Too Much is a woman who reacts to the world with ardent intensity is a woman familiar to lashes of shame and disapproval, from within as well as without. Written in the tradition of Shrill, Dead Girls, Sex Object and other frank books about the female gaze, TOO MUCH encourages women to reconsider the beauty of their excesses-emotional, physical, and spiritual. Rachel Vorona Cote braids cultural criticism, theory, and storytelling together in her exploration of how culture grinds away our bodies, souls, and sexualities, forcing us into smaller lives than we desire. An erstwhile Victorian scholar, she sees many parallels between that era's fixation on women's "hysterical" behavior and our modern policing of the same; in the space of her writing, you're as likely to encounter Jane Eyre and Lizzie Bennet as you are Britney Spears and Lana Del Rey. This book will tell the story of how women, from then and now, have learned to draw power from their reservoirs of feeling, all that makes us "Too Much."

    By bridging the gap between feminist hashtags and scholarly texts, these essays bring feminism into clear focus.Published in partnership with Girl Up, the UN Foundation's adolescent girl campaign, contributors include Hollywood superstars like Saoirse Ronan, activists like Alicia Garza, a founder of Black Lives Matter, and even fictional icons such as Bridget Jones.Every woman has a different route to their personal understanding of feminism. This empowering collection shows how a diverse group of women found their voice, and it will inspire others to do the same.

    Using journals, unpublished manuscripts, songs, news accounts, novels, medical literature, and numerous interviews, she relates an often surprising narrative of lesbian life. "A key work...the point of reference from which all subsequent studies of 20th-century lesbian life in the United States will begin."—San Francisco Examiner.

    president, and championed equality and justice for all. Why We March presents more than 300 of the most powerful, uplifting, clever, and creative signs from these marches. “Nasty Women Unite.” “Make America Think Again.” “Build Bridges, Not Walls.” “Girls Just Wanna Have Fundamental Rights.” “Love Trumps Hate.” “A Woman’s Place Is in the Resistance.” These images--featuring messages about reproductive rights and cabinet picks, immigration and police violence, climate change and feminism--together paint a striking portrait of resistance, despair, humor, and most of all, hope. This book will serve as a rallying cry for this burgeoning movement, and a valuable and timely encapsulation of an unprecedented moment in political history. All royalties from the sale of this book will be donated to Planned Parenthood.

    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

    Through personal narratives and qualitative empirical studies, more than 40 authors expose the daunting challenges faced by academic women of color as they navigate the often hostile terrain of higher education, including hiring, promotion, tenure, and relations with students, colleagues, and administrators. The narratives are filled with wit, wisdom, and concrete recommendations, and provide a window into the struggles of professional women in a racially stratified but increasingly multicultural America.

    Toxic ideas first spread by higher education have undermined humanistic values, fueled intolerance, and widened divisions in our larger culture. Students emerge into the working world believing that human beings are defined by their skin color, gender, and sexual preference, and that oppression based on these characteristics is the American experience. Speech that challenges these campus orthodoxies is silenced with brute force.The Diversity Delusion argues that the root of this problem is the belief in America's endemic racism and sexism. Diversity commissars denounce meritocratic standards as discriminatory, enforce hiring quotas, and teach students and adults alike to think of themselves as perpetual victims. The Diversity Delusion calls for a return to the classical liberal pursuits of open-minded inquiry and expression, by which everyone can discover a common humanity.

    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!

    Now, she takes on one of today’s hottest cultural topics: feminism. Nugent is a proud feminist—and she’s not afraid to say it. From the “scarlet F” thrust upon you if you declare yourself a feminist at a party to how to handle judgmental store clerks when you buy Plan B, You Don’t Have to Like Me skewers a range of cultural issues, and confirms Nugent as a star on the rise.