What did it mean to be a 'rebel woman' in the interwar years? Taking the form of a multiple biography, this book traces the struggles, passions and achievements of a set of 'fearlessly determined' women who stopped at nothing to make their mark in the traditionally masculine environments of mountaineering, politics, engineering and journalism. From the motorist Claudia Parsons to the 'star' reporter Margaret Lane, the mountaineer Dorothy Pilley and the journalist Shiela Grant Duff, the women charted in this book challenged the status quo in all walks of life, alongside writing vivid, eye-witness accounts of their adventures. Recovering their voices across a range of texts including novels, poems, journalism and diaries, Rebel women between the wars reveals their inch by inch gains won through courageous and sometimes controversial and dangerous actions. -- .

No ancient poet has a wider following today than Sappho; her status as the most famous woman poet from Greco-Roman antiquity, and as one of the most prominent lesbian voices in history, has ensured a continuing fascination with her work down the centuries. The Cambridge Companion to Sappho provides an up-to-date survey of this remarkable, inspiring, and mysterious Greek writer, whose poetic corpus has been significantly expanded in recent years thanks to the discovery of new papyrus sources. Containing an introduction, prologue and thirty-three chapters, the book examines Sappho's historical, social, and literary contexts, the nature of her poetic achievement, the transmission, loss, and rediscovery of her poetry, and the reception of that poetry in cultures far removed from ancient Greece, including Latin America, India, China, and Japan. All Greek is translated, making the volume accessible to everyone interested in one of the most significant creative artists of all time.

One of the most successful books ever published and the basis of one of the most popular and highly praised Hollywood films, Gone with the Wind has entered world culture in a way that few other stories have. The book was published in June 1936; the film premiered on December 15, 1939. The book has sold 25 million copies, has been translated into twenty-seven languages, and won the 1936 Pulitzer Prize. The film received eight Oscars and has been called the greatest movie ever made. Everyone has heard of GWTW. Most of us have seen the movie or read the novel. In this entertaining and informative book, Helen Taylor is the first to seek reasons for the film/novel's success among viewers/readers. The author asked GWTW fans to relate their experiences with the works, to explain their fascination with the story, to describe the impact GWTW has had on their lives. The results are astonishing and illuminating. In the United States and England, where the author conducted her research, women have to a remarkable degree claimed the story Margaret Mitchell wrote as their own. They name their children Rhett and Scarlett. They see in the lives of the men and women of GWTW their own lives, their own restlessness, their own aspirations for something better than marriage and motherhood. Helen Taylor not only explains the enduring appeal of the work, but also identifies different kinds of response at particular historical moments (especially World War II) and through the past five decades by women of different classes, races, and generations. The author also looks at the contemporary implications of the work's political conservatism, racism, and--paradoxically--feminism. The result is a book that is sophisticated, accessible, and revealing. Scarlett's Women is a book for eery fan, and for all students of film and popular culture.

'Terrifically smart ... On this grand tour of western visual culture, you couldn't ask for a better guide than McCormack, an art historian with attitude who offers a rousing new lens for looking "beyond the exchange of seeing and being seen".' Bridget Quinn, author of Broad Strokes: 15 Women Who Made Art and Made History (in That Order) 'Essential reading ... gripping, inspirational, beautifully written and highly thought-provoking.' Dr Helen Gorrill, author of Women Can't Paint A bold reconsideration of women in art - from the 'Old Masters' to the posts of Instagram influencers A perfect pin-up, a damsel in distress, a saintly mother, a femme fatale ... Women's identity has long been stifled by a limited set of archetypes, found everywhere in pictures from art history's classics to advertising, while women artists have been overlooked and held back from shaping more empowering roles. In this impassioned book, art historian Catherine McCormack asks us to look again at what these images have told us to value, opening up our most loved images - from those of Titian and Botticelli to Picasso and the Pre-Raphaelites. She also shows us how women artists - from Berthe Morisot to Beyonce, Judy Chicago to Kara Walker - have offered us new ways of thinking about women's identity, sexuality, race and power. Women in the Picture gives us new ways of seeing the art of the past and the familiar images of today so that we might free women from these restrictive roles and embrace the breadth of women's vision. 'It felt like the scales were falling from my eyes as I read it.' The Herald 'A wide range of readers will benefit from [McCormack's] synthesis of thousands of years of art about the female body and how this has impacted and occluded our understanding of women's experience.' Kathy Battista, author of New York New Wave: The Legacy of Feminist Art in Emerging Practices

What if we took sex out of the box marked 'special', either the worst or best thing that a human person can experience, and considered it within the complexity of reality? In this extraordinary book, despite longstanding tabloid-style sexual preoccupations with villains and victims, shame and virtue, JoAnn Wypijewski does exactly that. From the HIV crisis to the paedophile priest panic, Woody Allen to Brett Kavanaugh, child pornography to Abu Ghraib, Wypijewski takes the most famous sex panics of the last decades and turns them inside out, weaving what together becomes a searing indictment of modern sexual politics, exposing the myriad ways sex panics and the expansion of the punitive state are intertwined. What emerges is an examination of the multiple ways in which the ever-expanding default language of monsters and victims has contributed to the repressive power of the state. Politics exists in the mess of life. Sex does too, Wypijewski insists and so must sexual politics, to make any sense at all.

More women are studying science at university and they consistently outperform men. Yet, still, significantly fewer women than men hold prestigious jobs in science. Why should this occur? What prevents women from achieving as highly as men in science? And why are so few women positioned as 'creative genius' research scientists? Drawing upon the views of 47 (female and male) scientists, Bevan and Gatrell explore why women are less likely than men to become eminent in their profession. They observe three mechanisms which perpetuate women s lowered 'place' in science: subtle masculinities (whereby certain forms of masculinity are valued over womanhood); (m)otherhood (in which women's potential for maternity positions them as 'other'), and the image of creative genius which is associated with male bodies, excluding women from research roles.

USA Today Bestseller "A powerful work of skillful research and personal insight."--Publishers Weekly Biblical womanhood--the belief that God designed women to be submissive wives, virtuous mothers, and joyful homemakers--pervades North American Christianity. From choices about careers to roles in local churches to relationship dynamics, this belief shapes the everyday lives of evangelical women. Yet biblical womanhood isn't biblical, says Baylor University historian Beth Allison Barr. It arose from a series of clearly definable historical moments. This book moves the conversation about biblical womanhood beyond Greek grammar and into the realm of church history--ancient, medieval, and modern--to show that this belief is not divinely ordained but a product of human civilization that continues to creep into the church. Barr's historical insights provide context for contemporary teachings about women's roles in the church and help move the conversation forward. Interweaving her story as a Baptist pastor's wife, Barr sheds light on the #ChurchToo movement and abuse scandals in Southern Baptist circles and the broader evangelical world, helping readers understand why biblical womanhood is more about human power structures than the message of Christ.

The never-before-told story of Ewan Forbes and the landmark case that rocked British society and transformed transgender experience to this day 'Magnificently researched and told' Lord Michael Cashman CBE 'A landmark work' Baroness Helena Kennedy QC 'Gripping and important' Michael Bronski, author of A Queer History of the United States ------------------- Ewan Forbes was born Elisabeth Forbes to a wealthy landowning family in 1912. It quickly became clear that the gender applied to him at birth was not correct, and from the age of six he began to see specialists in Europe for help. With the financial means of procuring synthetic hormones, Ewan was able to live as a boy, and then as man, and was even able to correct the sex on his birth certificate in order to marry. Then, in 1965, his older brother died and Ewan was set to inherit the family baronetcy. After his cousin contested the inheritance on the grounds that it could only be inherited by a male heir, Ewan was forced to defend his male status in an extraordinary court case, testing the legal system of the time to the limits of its understanding. In The Hidden Case of Ewan Forbes, Zoe Playdon draws on the fields of law, medicine, psychology and biology to reveal a remarkable hidden history, uncovering for the first time records that were considered so threatening that they had been removed from view for decades.

"A passionate, practical roadmap for addressing inequality and finally making our workplaces work for women" Arianna Huffington Foreword by Gillian Anderson and Jennifer Nadel For years, we've been telling women that in order to succeed at work, they have to change themselves first - lean in, negotiate like a man, don't act too nicely or you won't get the corner office. But after sixteen years working with major Fortune 500 companies as a gender equality expert, Michelle King has realised one simple truth - the tired advice of fixing women doesn't fix anything. The truth is that workplaces are gendered; they were designed by men for men. Because of this, most organisations unconsciously carry the idea of an 'ideal worker', typically a straight, white man who doesn't have to juggle work and family commitments. Based on King's research and exclusive interviews with major companies and thought leaders, The Fix reveals why denying the fact that women are held back just because they are women - what she calls gender denial - is the biggest obstacle holding women back at work and outlines the hidden sexism and invisible barriers women encounter at work every day. Women who speak up are seen as pushy. Women who ask for a pay rise are seen as difficult. Women who spend hours networking don't get the same career benefits as men do. Because women don't look like the ideal worker and can't behave like the ideal worker, they are passed over for promotions, paid less, and pushed out of the workforce, not because they aren't good enough, but because they aren't men. In this fascinating and empowering book, King outlines the invisible barriers that hold women back at all stages of their careers, and provides readers with a clear set of takeaways to thrive despite the sexist workplace, as they fight for change from within. Gender equality is not about women, and it is not about men - it is about making workplaces work for everyone. Together, we can fix work, not women.

Ms. Donna Haskins is an African American woman who wrestles with structural inequity in the streets of Boston by inhabiting an alternate dimension she refers to as the "spirit realm." In this other place, she is prepared by the Holy Spirit to challenge the restrictions placed upon Black female bodies in the United States. Growing into her spiritual gifts of astral flight and time travel, Donna meets the spirits of enslaved Africans, conducts spiritual warfare against sexual predators, and tends to the souls of murdered Black children whose ghosts haunt the inner city. Take Back What the Devil Stole centers Donna's encounters with the supernatural to offer a powerful narrative of how one woman seeks to reclaim her power from a lifetime of social violence. Both ethnographic and personal, Onaje X. O. Woodbine's portrait of her spiritual life sheds new light on the complexities of Black women's religious participation and the lived religion of the dispossessed. Woodbine explores Donna's religious creativity and her sense of multireligious belonging as she blends together Catholic, Afro-Caribbean, and Black Baptist traditions. Through the gripping story of one local prophet, this book offers a deeply original account of the religious experiences of Black women in contemporary America: their bodies, their haunted landscapes, and their spiritual worlds.