She tackles the reality of what we do and don't know about virginity and provides a sweeping tour of virgins in history--from virgin martyrs to Queen Elizabeth to billboards in downtown Baltimore telling young women it's not a "dirty word." Virgin proves, as well, how utterly contemporary the topic is--the butt of innumerable jokes, center of spiritual mysteries, locus of teenage angst, popular genre for pornography and nucleus around which the world's most powerful government has created an unprecedented abstinence policy. In this fascinating work, Hanne Blank shows for the first time why this is, and why everything we think we know about virginity is wrong.

    You did nothing wrong. Hold this tight to your heart: it wasn't your fault.At night when you lay there and your mind fills with images and you wonder if only, if you had . . . if you hadn't . . . . Remember: it wasn't your fault.In Oakland, California on March 24, 2015 a fire destroyed the AK Press warehouse along with several other businesses. Please consider visiting the AK Press website to learn more about the fundraiser to help them and their neighbors.Dear Sister shares the lessons, memories, and vision of over fifty artists, activists, mothers, writers, and students who share their stories of survival or what it means to be an advocate and ally to survivors. Written in an epistolary format, this multi-generational, multi-ethnic collection of letters and essays is a moving journey into the hearts and minds of the survivors of rape, incest, and other forms of sexual violence, written directly to and for other survivors.Dear Sister goes far beyond traditional books about healing, which often use "experts" to explain the experience of survivors for the rest of the world. Where other books about rape weave the voices of feminists and activists together and imagine what a world without violence might look like, Dear Sister describes the reality of what the world looks like through the eyes of a survivor. From a professor in the Midwest to a poet in Belgium, an escapee from a child prostitution ring, a survivor advocate in the Congo, and a sex worker in San Francisco, Dear Sister touches on issues of feminism, love, disability, gender, justice, identity, and spirituality.Praise for Dear Sister:"This chilling, heartbreaking, and necessary collection consists of letters from 40 artists, activists, writers, and students, who are survivors of sexual assault and here offer counsel to 'sister' survivors. Every story is shadowed by the teller’s sense of shame, brokenness, depression, and pain, but at the same time, in anticipation of the addressees’ experience of sexual assault, the letters also offer comfort, solidarity, reassurance, the possibility of healing, and testimony of survival."—Publishers Weekly"There is nothing on earth more changeful than telling our stories honestly, and listening to the stories of others with an open heart. That's especially true for survivors of sexualized violence who've been silenced by shame. These 50 brave Letters from Survivors of Sexual Violence will open floodgates of memory, expose body-invasion as the most traumatic of crimes, and show victimizers the roots and damage of their acts. I'm very grateful to Lisa Factora-Borchers for editing this book, to Aishah Shahida Simmons whose foreword sets a high bar of honesty, and to all the voices in it. I think you will be, too."—Gloria SteinemLisa Factora-Borchers is a Filipina writer and editor whose work has been published in make/shift, Bitch, Left Turn, and Critical Moment.Contributors: Aaminah Shakur, Adrienne Maree Brown, Alexis Pauline Gumbs, Allison McCarthy, Amita Y. Swadhin, Amy Ernst, Ana Heaton, Andrea Harris, Angel Propps, anna Saini, Anne Averyt, annu Saini, Ashley Burczak, brownfemipower, Brooke Benoit, Denise Santomauro, Desire Vincent, Dorla Harris, "Harriet J.", Indira Allegra, Isabella Gitana-Woolf, Joan Chen, Judith Stevenson, Juliet November, Kathleen Ahern, Leah Lakshmi Piepzna-Samarasinha, Marianne Kirby, Maroula Blades, Mary Zelinka, Mattilda Bernstein Sycamore, Melissa Dey Hasbrook, Melissa G., Mia Mingus, Michelle Ovalle, Premala Matthen, Rebecca Echeverria, Renee Martin, River Willow Fagan, Sara Durnan, Sarah M. Cash, Shala Bennett, Shanna Katz, Sofia Rose Smith, Sumayyah Talibah, Sydette Harry, Birdy, Viannah E. Duncan, and Zöe Flowers.

    "Death as a Friend," showing a man greeting his death as an old friend, with a hysterical mixture of joy and terror. "The People," in which a mother shields her offspring from phantoms of hate, poverty, and ignorance — and symbolizes woman as creator, begetter of the human race, link between past and future.These works represent the recurrent themes which most characterize the work of Käthe Kollwitz: social consciousness and a sense of the suffering of mankind, an urge to voice the basic maternal attitude, and a preoccupation with death. She has been called a propagandist, a crusader, yet her art is essentially apolitical. Her concern was not with partisan causes, but rather with universal rights.Fundamentally a dramatic artist, Käthe Kollwitz (1867–1945) brought to each of her works an uncanny ability to evoke human emotions through subtle gestures and facial expressions. The reactions of her characters were psychologically true primarily because she tested them on herself.The present collection contains 83 of Mrs. Kollwitz's finest works, including the last great print cycles: "The Weavers" of 1898; "The Peasant War" of 1908; "War" of 1925; and "Death" of 1935. These selections provide a full panorama of Mrs. Kollwitz's development as a master of the graphic techniques of etching, woodcutting and lithography. Over 69 of the illustrations have been rephotographed from the original works specially for this edition, and new techniques in photolithography and a larger format have resulted in reproductions that are as close as possible to the prints and drawings themselves.

    In this crucible, Marie steadily supplants her desire for family, for her homeland, for the passions of her youth with something new to her: devotion to her sisters, and a conviction in her own divine visions. Marie, born the last in a long line of women warriors and crusaders, is determined to chart a bold new course for the women she now leads and protects. But in a world that is shifting and corroding in frightening ways, one that can never reconcile itself with her existence, will the sheer force of Marie's vision be bulwark enough?Equally alive to the sacred and the profane, Matrix gathers currents of violence, sensuality, and religious ecstasy in a mesmerizing portrait of consuming passion, aberrant faith, and a woman that history moves both through and around. Lauren Groff's new novel, her first since Fates and Furies, is a defiant and timely exploration of the raw power of female creativity in a corrupted world.

    Slight of build, shy by nature, prone to fits of depression, the 28-year-old Beijing photographer was nonetheless at the forefront of Chinese artists' battle for creative freedom. Like his champion Ai Weiwei, Ren was controversial in his homeland and wildly popular in the rest of the world. He said, -I don't really view my work as taboo, because I don't think so much in cultural context, or political context. I don't intentionally push boundaries, I just do what I do.- Why? Because his models, friends, and increasingly, fans, are naked, often outdoors, high in the trees or on the terrifyingly vertiginous rooftops of Beijing, stacked like building blocks, heads wrapped in octopi, body cavities sprouting phone cords and flowers, whatever enters his mind at the moment. He denies his intentions are sexual, and there is a clean detachment about even his most extreme images: the urine, the insertions, the many, many erections. In a 2013 interview VICE magazine asked, -there are a lot of dicks ... do you just like dicks?- Ren responded, -It's not just dicks I'm interested in, I like to portray every organ in a fresh, vivid and emotional way.- True though that may be, the penises Ren photographed are not just fresh and vivid, but unusually large, making one wonder just where he met his friends. In the same piece, Hang also stated, -Gender isn't important when I'm taking pictures, it only matters to me when I'm having sex, - making him a pioneer of gender inclusiveness. Young fans still eagerly flock to his website, Facebook, Instagram, and Flickr accounts. His photographs, all produced on film, have been the subject of over 20 solo and 70 group shows in his brief six-year career, in cities as disparate as Tokyo, Athens, Paris, New York, Copenhagen, Frankfurt, Vienna, and yes, even Beijing. He self-published 16 monographs, in tiny print runs, that now sell for up to $600. TASCHEN's Ren Hang is his only international collection, covering his entire career, with well-loved favorites and many never-before-seen photos of men, women, Beijing, and those many, many erections. We take solace remembering Ren's joy when he first held the book, shared by his long-time partner Jiaqi, featured on the cover.Text in English, French, and German

    Women who are naturally driven and goal-oriented shy away from it. They’re loath to see themselves—or be seen by others—as aggressive or, worst of all, as a bitch. Double Bind could not come at a more urgent time, a necessary collection that explodes this conflict, examining the concept of female ambition from every angle in essays full of insight, wisdom, humor, and rage.Perceptively identifying a paradox at the very heart of feminism, editor Robin Romm has marshaled a stunning constellation of thinkers to examine their relationships with ambition with candor, intimacy, and wit. Roxane Gay discusses how race informs and feeds her ambition. Theresa Rebeck takes on Hollywood and confronts her own unquenchable thirst to overcome its sexism. Francine Prose considers the origins of the stigma; Nadia Manzoor discusses its cultural weight. Women who work in fields long-dominated by men—from butchery to tech to dogsledding—weigh in on what it takes to crack that ever-present glass ceiling, and the sometimes unexpected costs of shattering it. The eternally complex questions of aspiration and identity can be made even more treacherous at the dawn of motherhood; Allison Barrett Carter attempts leaning in at home, while Sarah Ruhl tries to uphold her feminist vision within motherhood’s infinite daily compromises.Taken together, these essays show women from a range of backgrounds and at all stages of their lives and careers grappling with aspiration, failure, achievement, guilt, and, yes, success. Forthright and empowering, Double Bind breaks a long silence, reclaiming "ambition" from the roster of dirty words at last.

     I t's not the shoes, the scarves, or the lipstick that gives French women their allure. It's this: French women don?t give a damn. They don?t expect men to understand them. They don?t care about being liked or being like everyone else. They generally reject notions of packaged beauty. They accept the passage of time, celebrate the immediacy of pleasure, like to break rules, embrace ambiguity and imperfection, and prefer having a life to making a living. They are, in other words, completely unlike us. Ollivier goes beyond familiar ooh-la-la stereotypes about French women, challenging cherished notions about sex, love, dating, marriage, motherhood, raising children, body politics, seduction, and flirtation. Less a how-to and more a how-not-to, "What French Women Know" offers a refreshing counterpoint to the stale love dogma of our times. Peppered with anecdotes from its Franco-American author and filled with provocative ideas from French sexperts, mistresses and maidens alike, it debunks longstanding myths, presenting savvy new thinking from an old sexy culture and more realistic, life-affirming alternatives from the land that knows how to love.

    An artist's book by the renowned Swiss duo dedicated to the questions that everyone asks themselves once in a while: Can something be unbelievable? Should I get drunk? Could I be Japanese? Is the freedom of birds overrated? Am I a farmer in winter? Does unease grow by itself? Should I crawl into my bed and stop producing things all the time?

    DO WHAT YOU WANTA ZINE ABOUT MENTAL WELLBEING, RAISING MONEY FOR MENTAL HEALTH CHARITIES.Contributors include writers from the Guardian, the New York Times, NYMag, The Telegraph, The Observer, Rookie, Pitchfork and ELLE.Our highlights are: Why Should I Go to Therapy? by Ask Polly’s Heather Havrilesky || An interview about OCD with writer and actress Mara Wilson || Food for Thought: Diana Henry, Tejal Rao, Meera Sodha, Ruby Tandoh and more share their recipes for life || The Many Faces of Eating Disorders: interviews with survivors || Eleanor Morgan writing about Plastic Minds || The Cost of Care: an interview with Sally Burke, from Channel 4’s acclaimed documentary series Kids on the Edge

    In Life of the Party, she weaves together her own coming of age with an investigation into our culture's romanticization of violence against women. In precise, searing language—at times blistering and riotous, at times soulful and exuberant—she explores the boundary between what is real and what is imagined in a life saturated with fear. How does one grow from a girl to a woman in a world wracked by violence? Where is the line between perpetrator and victim? What is the meaning of bravery? Visceral and haunting, this multifaceted collection illustrates that what happens to our bodies makes us who we are.

    All she wanted to do was to make art. But becoming an artist wasn't an easy. Her parents worked hard to provide her paper and paints, and Mary worked hard to enter contests and earn a spot at a school for the arts. She even had to work hard to find her place at the Walt Disney Studios. But Walt was easily impressed by Mary Blair. When she joined his trip to South America, Mary had never seen such color. She collected that color and used it in her concept art for Cinderella, Alice in Wonderland, and Peter Pan, and even the It's a Small World attraction at Disneyland. This beautifully illustrated picture book shares Mary's story, in all its inspiring flair.

    Now the largest multiracial, grassroots, feminist organization in the United States, INCITE! boasts chapters in more than 20 cities. Color of Violence: The INCITE! Anthology presents the fierce and vital writing of 32 of these visionaries, who not only shift the focus from domestic violence and sexual assault, but also map innovative strategies of movement building and resistance used by women of color around the world. At a time of heightened state surveillance and repression of people of color, Color of Violence: The INCITE! Anthology is an essential intervention.

    David Hockney has worked in almost every medium - painting, drawing, stage design, photography and printmaking. He has undertaken an ambitious experiment with ways of seeing and ways of representing sight - ranging from his paintings, with their challenges to perspective and brilliant colours, to his vivid multi-dimensional photo-collages and his fax art, computer printings and coloured laser prints.

    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.

    Set amid the most turbulent social and political period of modern times, Ninth Street Women is the impassioned, wild, sometimes tragic, always exhilarating chronicle of five women who dared to enter the male-dominated world of twentieth-century abstract painting -- not as muses but as artists. From their cold-water lofts, where they worked, drank, fought, and loved, these pioneers burst open the door to the art world for themselves and countless others to come. Gutsy and indomitable, Lee Krasner was a hell-raising leader among artists long before she became part of the modern art world's first celebrity couple by marrying Jackson Pollock. Elaine de Kooning, whose brilliant mind and peerless charm made her the emotional center of the New York School, used her work and words to build a bridge between the avant-garde and a public that scorned abstract art as a hoax. Grace Hartigan fearlessly abandoned life as a New Jersey housewife and mother to achieve stardom as one of the boldest painters of her generation. Joan Mitchell, whose notoriously tough exterior shielded a vulnerable artist within, escaped a privileged but emotionally damaging Chicago childhood to translate her fierce vision into magnificent canvases. And Helen Frankenthaler, the beautiful daughter of a prominent New York family, chose the difficult path of the creative life. Her gamble paid off: At twenty-three she created a work so original it launched a new school of painting. These women changed American art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation. In Ninth Street Women, acclaimed author Mary Gabriel tells a remarkable and inspiring story of the power of art and artists in shaping not just postwar America but the future.