It is set amid the battle for women's suffrage, the Spiritualist movement that swept across the nation in the age of Radical Reconstruction following the Civil War, and the bitter fight that pitted black men against white women in the struggle for the right to vote.Peter Gay found Other Powers "Irresistible...this is a biography guaranteed to keep the reader reading." And Gloria Steinem called it "A real-life novel of how one charismatic woman...turned women's suffrage, the church, New York City, and much of the country on its ear."

    An urgent analysis of global gender inequality and a passionately argued case for change by a pioneer in the movement for women's economic empowerment.'A compelling and actionable case for unleashing women's economic power' Melinda GatesWomen's economic development expert Linda Scott coined the paradigm-shifting concept of the 'double X economy' to describe both the shocking gender inequalities that are built into our global economy, and the collective power of women that could be harnessed to combat those inequalities.Drawing on a wealth of sources including radical original research and vivid case studies, Scott reveals how economic subordination and exclusion are systemic for women in the developing and the developed worlds; and shows that by pulling women in as equal participants in the economy, we could address many of humankind's most pressing problems.Provocative, accessible and potentially game-changing, The Double X Economy is the feminist answer to Jeffrey Sach's The End of Poverty: both a work of expert analysis and an urgent call to action.

    Magazine, Bitch was launched in the mid-nineties as a Xerox-and-staple zine covering the landscape of popular culture from a feminist perspective. Both unabashed in its love for the guilty pleasures of consumer culture and deeply thoughtful about the way the pop landscape reflects and impacts women's lives, Bitch grew to be a popular, full-scale magazine with a readership that stretched worldwide. Today it stands as a touchstone of hip, young feminist thought, looking with both wit and irreverence at the way pop culture informs feminism--and vice versa--and encouraging readers to think critically about the messages lurking behind our favorite television shows, movies, music, books, blogs, and the like. BITCHFest offers an assortment of the most provocative essays, reporting, rants, and raves from the magazine's first ten years, along with new pieces written especially for the collection. Smart, nuanced, cranky, outrageous, and clear-eyed, the anthology covers everything from a 1996 celebration of pre-scandal Martha Stewart to a more recent critical look at the "gayby boom"; from a time line of black women on sitcoms to an analysis of fat suits as the new blackface; from an attempt to fashion a feminist vulgarity to a reclamation of female virginity. It's a recent history of feminist pop-culture critique and an arrow toward feminism's future.

    This innovative primer highlights sexual liberation as it traces the lineage of “witch feminism.” Juxtaposing scholarly research on the demonization of women and female sexuality that has continued since the witch hunts of the early modern era with pop occulture analyses and interviews with activists, artists, scholars, and practitioners of witchcraft, this book enriches our contemporary conversations about reproductive rights, sexual pleasure, queer identity, pornography, sex work, and more.Kristen J. Sollee is instructor at The New School and founding editrix of Slutist, an award-winning sex positive feminist website."

    She explores the pivotal and interconnected roles played by gender and race in North Carolina politics from the period immediately preceding the disfranchisement of black men in 1900 to the time black and white women gained the vote in 1920. Gender and Jim Crow argues that the ideology of white supremacy embodied in the Jim Crow laws of the turn of the century profoundly reordered society and that within this environment, black women crafted an enduring tradition of political activism. According to Gilmore, a generation of educated African American women emerged in the 1890s to become, in effect, diplomats to the white community after the disfranchisement of their husbands, brothers, and fathers. Using the lives of African American women to tell the larger story, Gilmore chronicles black women's political strategies, their feminism, and their efforts to forge political ties with white women. Her analysis highlights the active role played by women of both races in the political process and in the emergence of southern progressivism. In addition, Gilmore illuminates the manipulation of concepts of gender by white supremacists and shows how this rhetoric changed once women, black and white, gained the vote.

    Full of quirky insights into sexual standards and practices, "Fast Girls" is a journey into the dark side of the teenage years, a revealing study of American society.

    Title VII of the law made it illegal to discriminate “because of sex.” But that simple phrase didn’t mean much until ordinary women began using the law to get justice on the job—and some took their fights all the way to the Supreme Court. Among them were Ida Phillips, denied an assembly line job because she had a preschool-age child; Kim Rawlinson, who fought to become a prison guard—a “man’s job”; Mechelle Vinson, who brought a lawsuit for sexual abuse before “sexual harassment” even had a name; Ann Hopkins, denied partnership at a Big Eight accounting firm because the men in charge thought she needed "a course at charm school”; and most recently, Peggy Young, UPS truck driver, forced to take an unpaid leave while pregnant because she asked for a temporary reprieve from heavy lifting.These unsung heroines’ victories, and those of the other women profiled in Gillian Thomas' Because of Sex, dismantled a “Mad Men” world where women could only hope to play supporting roles; where sexual harassment was “just the way things are”; and where pregnancy meant getting a pink slip.Through first-person accounts and vivid narrative, Because of Sex tells the story of how one law, our highest court, and a few tenacious women changed the American workplace forever.

    That trial and Alyokhina's subsequent imprisonment became an international cause. For Alyokhina, her two-year sentence launched a bitter struggle against the Russian prison system and an iron-willed refusal to be deprived of her humanity. Teeming with protests and police, witnesses and cellmates, informers and interrogators, Riot Days gives voice to Alyokhina's insistence on the right to say no, whether to a prison guard or to the president. Ultimately, this insistence delivers unprecedented victories for prisoners' rights.Evocative, wry, laser-sharp, and laconically funny, Alyokhina's account is studded with song lyrics, legal transcripts, and excerpts from her jail diary--dispatches from a young woman who has faced tyranny and returned with the proof that against all odds even one person can force its retreat.

    Films widely disparate in subject, sentiment, and technique, they nonetheless shared one dual purpose: to provide the audience (of women, primarily) with temporary liberation into a screen dream - of romance, sexuality, luxury, suffering, or even wickedness - and then send it home reminded of, reassured by, and resigned to the fact that no matter what else she might do, a woman's most important job was...to be a woman. Now, with boundless knowledge and infectious enthusiasm, Jeanine Basinger illuminates the various surprising and subversive ways in which women's films delivered their message. Basinger examines dozens of films, exploring the seemingly intractable contradictions at the convoluted heart of the woman's genre - among them, the dilemma of the strong and glamorous woman who cedes her power when she feels it threatening her personal happiness, and the self-abnegating woman whose selflessness is not always as "noble" as it appears. Basinger looks at the stars who played these women (Kay Francis, Barbara Stanwyck, Joan Crawford, Bette Davis, Rosalind Russell, Susan Hayward, Myrna Loy, and a host of others) and helps us understand the qualities - the right off-screen personae, the right on-screen attitudes, the right faces, the right figures for carrying the right clothes - that made them personify the woman's film and equipped them to make believable drama or comedy out of the crackpot plots, the conflicting ideas, and the exaggerations of real behavior that characterize these movies. In each of the films the author discus