The purpose of this book is to understand the lived experiences of Black women diversity practitioners at historically white higher education, healthcare, and corporate institutions before, during, and after the dual pandemics of COVID-19 and the racial reckoning of 2020. There is limited research on Black women's experiences in these positions outside of higher education. The stories and research provided in this book offers crucial information for institutions to look inward at the cultures and practices of their organizations that directly impact Black women diversity practitioners. In addition, implications for culture shifts and policy transformation would support Black women currently in these positions and women looking to break into the field of diversity, equity, and inclusion. This is a essential text for higher education staff and administration, CEOs, and leadership in corporate America and healthcare.

Contributions by Frederick Luis Aldama, Melissa Burgess, Susan Kirtley, Rachel Luria, Ursula Murray Husted, Mark O'Connor, Allan Pero, Davida Pines, Tara Prescott-Johnson, Jane Tolmie, Rachel Trousdale, Elaine Claire Villacorta, and Glenn Willmott Lynda Barry (b. 1956) is best known for her distinctive style and unique voice, first popularized in her underground weekly comic Ernie Pook's Comeek. Since then, she has published prolifically, including numerous comics, illustrated novels, and nonfiction books exploring the creative process. Barry's work is genre- and form-bending, often using collage to create what she calls "word with drawing" vignettes. Her art, imaginative and self-reflective, allows her to discuss gender, race, relationships, memory, and her personal, everyday lived experience. It is through this experience that Barry examines the creative process and offers to readers ways to record and examine their own lives. The essays in Contagious Imagination: The Work and Art of Lynda Barry, edited by Jane Tolmie, study the pedagogy of Barry's work and its application academically and practically. Examining Barry's career and work from the point of view of research-creation, Contagious Imagination applies Barry's unique mixture of teaching, art, learning, and creativity to the very form of the volume, exploring Barry's imaginative praxis and offering readers their own. With a foreword by Frederick Luis Aldama and an afterword by Glenn Willmott, this volume explores the impact of Barry's work in and out of the classroom. Divided into four sections-Teaching and Learning, which focuses on critical pedagogy; Comics and Autobiography, which targets various practices of rememorying; Cruddy, a self-explanatory category that offers two extraordinary critical interventions into Barry criticism around a challenging text; and Research-Creation, which offers two creative, synthetic artistic pieces that embody and enact Barry's own mixed academic and creative investments-this book offers numerous inroads into Barry's idiosyncratic imagination and what it can teach us about ourselves.

WINNER OF THE 2022 VICTORIA SCHUCK AWARD, GIVEN BY THE AMERICAN POLITICAL SCIENCE ASSOCIATION Why Democratic women far outnumber Republican women in elective offices From Kamala Harris and Elizabeth Warren to Stacey Abrams and Alexandria Ocasio-Cortez, women around the country are running in-and winning-elections at an unprecedented rate. It appears that women are on a steady march toward equal representation across state legislatures and the US Congress, but there is a sharp divide in this representation along party lines. Most of the women in office are Democrats, and the number of elected Republican women has been plunging for decades. In The Partisan Gap, Elder examines why this disparity in women's representation exists, and why it's only going to get worse. Drawing on interviews with female office-holders, candidates, and committee members, she takes a look at what it is like to be a woman in each party. From party culture and ideology, to candidate recruitment and the makeup of regional biases, Elder shows the factors contributing to this harmful partisan gap, and what can be done to address it in the future. The Partisan Gap explores the factors that help, and hinder, women's political representation.

With The Weaker Sex in War, Kristen Brill shows how white women's wartime experiences shaped Confederate political culture-and the ways in which Confederate political culture shaped their wartime experiences. These white women had become passionate supporters of independence to advance the cause of Southern nationalism and were used by Confederate leadership to advance the cause. These women, drawn from the middle and planter class, played an active, deliberate role in the effort. They became knowing and keen participants in shaping and circulating a gendered nationalist narrative, as both actors for and symbols of the Confederate cause. Through their performance of patriotic devotion, these women helped make gender central to the formation of Confederate national identity, to an extent previously unreckoned with by scholars of the Civil War era.In this important and original work, Brill weaves together individual women's voices in the private sphere, collective organizations in civic society, and political ideology and policy in the political arena. A signal contribution to an increasingly rich vein of historiography, The Weaker Sex in War provides a definitive take on white women and political culture in the Confederacy.

How can we be sure the oppressed do not become oppressors in their turn? How can we create a feminism that doesn't turn into yet another tool for oppression? It has become commonplace to argue that, in order to fight the subjugation of women, we have to unpack the ways different forms of oppression intersect with one another: class, race, gender, sexuality, disability, and ecology, to name only a few. By arguing that there is no single factor, or arche, explaining the oppression of women, Chiara Bottici proposes a radical anarchafeminist philosophy inspired by two major claims: that there is something specific to the oppression of women, and that, in order to fight that, we need to untangle all other forms of oppression and the anthropocentrism they inhabit. Anarchism needs feminism to address the continued subordination of all femina, but feminism needs anarchism if it does not want to become the privilege of a few. Anarchafeminism calls for a decolonial and deimperial position and for a renewed awareness of the somatic communism connecting all different life forms on the planet. In this new revolutionary vision, feminism does not mean the liberation of the lucky few, but liberation for all living creatures from both capitalist exploitation and an androcentric politics of domination. Either all or none of us will be free.