Elizabeth Blackwell's autobiographic history of the brave accomplishments of those who made the USA's medical profession accessible to women is illuminating and uplifting. Writing toward the end of the 19th century, Blackwell strikes a dignified and resolute tone throughout this memoir. Prior to Victorian times, women had only a diminished role in the medical profession, which - like most other professional trades at the time - was closed to female participation. Elizabeth Blackwell however was adamant that she could serve as a medic; her persistence led her to become the first woman ever taught in medical school, studying in the USA. Blackwell discusses famous figures in English medicine, such as Florence Nightingale, as well as several more obscure - but nevertheless important and influential - contributors to the progress of women in the medical profession. Towards the end of the book, set in 1858, Elizabeth Blackwell revisits England to behold the hospitals and medical community of that nation.

Sofia Coppola (b. 1971) was baptized on film. After appearing in The Godfather as an infant, it took twenty-five years for Coppola to take her place behind the camera, helming her own adaptation of Jeffery Eugenides's celebrated novel The Virgin Suicides. Following her debut, Coppola was the third woman ever to be nominated for Best Director and became an Academy Award winner for Best Original Screenplay for her sophomore feature, Lost in Translation. She has also been awarded the Golden Lion at the Venice Film Festival and Best Director at Cannes. In addition to her filmmaking, Coppola is recognized as an influential tastemaker. She sequenced the so-called Tokyo dream pop of the Lost in Translation soundtrack like an album, a success in its own right. Her third film, Marie Antoinette, further showcased Coppola's ear for the unexpected needle drop, soundtracking the controversial queen's life with a series of New Romantic bangers popular during the director's adolescence. The conversations compiled within Sofia Coppola: Interviews mark the filmmaker's progression from dismissed dilettante to acclaimed auteur of among the most visually arresting, melancholy, and wryly funny films of the twenty-first century. Coppola discusses her approach to collaboration, Bill Murray as muse, and how Purple Rain blew her twelve-year-old mind. There are interviews from major publications, but Coppola speaks with musician Kim Gordon for indie magazine Bust and Tavi Gevinson, then-adolescent founder of online teen magazine Rookie as well. The volume also features a new and previously unpublished interview conducted with volume editor Amy N. Monaghan. To read these interviews is to witness Sofia Coppola coming into her own as a world-renowned artist.

Although US history is marred by institutionalized racism and sexism, postracial and postfeminist attitudes drive our polarized politics. Violence against people of color, transgendered and gay people, and women soar upon the backdrop of Donald Trump, Tea Party affiliates, alt-right members like Richard Spencer, and right-wing political commentators like Milo Yiannopoulos who defend their racist and sexist commentary through legalistic claims of freedom of speech. While more institutions recognize the volatility of these white men's speech, few notice or have thoughtfully considered the role of white nationalist, alt-right, and conservative white women's messages that organizationally preserve white supremacy. In Rebirthing a Nation: White Women, Identity Politics, and the Internet, author Wendy K. Z. Anderson details how white nationalist and alt-right women refine racist rhetoric and web design as a means of protection and simultaneous instantiation of white supremacy, which conservative political actors including Sarah Palin, Donald Trump, Kellyanne Conway, Sarah Huckabee Sanders, and Ivanka Trump have amplified through transnational politics. By validating racial fears and political divisiveness through coded white identity politics, postfeminist and motherhood discourse functions as a colorblind, gilded cage. Rebirthing a Nation reveals how white nationalist women utilize colorblind racism within digital space, exposing how a postfeminist framework becomes fodder for conservative white women's political speech to preserve institutional white supremacy.

In Moroccan Female Religious Agents: Old Practices and New Perspectives, Ouguir studies Moroccan female religious agents in particular historical women saints and Sufis, the way they constructed powerful saintly personalities that challenged the dominant conventional norms, and the way they are received by venerators and feminist Islamist activists of modern Morocco. Through hagiographic and oral narratives, Ouguir examines the techniques religious women followed to achieve ethical self-formation and strong religious personalities that promoted them to leadership. She also examined the venerators', murshid t and Islamist feminists' reception of women saints in their discourses. Ouguir states convincingly that Moroccan religious women agents in both Morocco's past and present are to be highlighted for broader discourses on Muslim women and feminism.

Queer studies is an extensive field that spans a range of disciplines. This volume focuses on education and educational research and examines and expounds upon queer studies particular to education fields. It works to examine concepts, theories, and methods related to queer studies across PK-12, higher education, adult education, and informal learning. The volume takes an intentionally intersectional approach, with particular attention to the intersections of white supremacist cisheteropatriachy. It includes well-established concepts with accessible and entry-level explanations, as well as emerging and cutting-edge concepts in the field. It is designed to be used by those new to queer studies as well as those with established expertise in the field.

A long and ongoing challenge for social justice movements has been how to address difference. Traditional strategies have often emphasized universalizing messages and common identities as means of facilitating collective action. Feminist movements, gay liberation movements, racial justice movements, and even labour movements, have all focused predominantly on respective singular dimensions of oppression. Each has called on diverse groups of people to mobilize, but without necessarily acknowledging or grappling with other relevant dimensions of identity and oppression. While focusing on commonality can be an effective means of mobilization, universalist messages can also obscure difference and can serve to exclude and marginalize groups in already precarious positions. Scholars and activists, particularly those located at the intersection of these movements, have long advocated for more inclusive approaches that acknowledge the significance and complexity of different social locations, with mixed success. Gender Mobilizations and Intersectional Challenges provides a much needed intersectional analysis of social movements in Europe and North America. With an emphasis on gendered mobilization, it looks at movements traditionally understood and/or classified as singularly gendered as well as those organized around other dimensions of identity and oppression or at the intersection of multiple dimensions. This comparative study of movements allows for a better understanding of the need for as well as the challenges

The first woman in America to own and operate a circus, Agnes Lake spent thirty years under the Big Top before becoming the wife of Wild Bill Hickok--a mere five months before he was killed. Although books abound on the famous lawman, Agnes's life has remained obscured by circus myth and legend.

Linda A. Fisher and Carrie Bowers have written the first biography of this colorful but little-known circus performer. Agnes originally found fame as a slack-wire walker and horseback rider, and later as an animal trainer. Her circus career spanned more than four decades. Following the murder of her first husband, Bill Lake, she was the sole manager of the "Hippo-Olympiad and Mammoth Circus." While taking her show to Abilene, she met town marshal Hickok and five years later she married him. After Hickok's death, Agnes traveled with P. T. Barnum and Buffalo Bill Cody, and managed her daughter Emma Lake's successful equestrian career.

This account of a remarkable life cuts through fictions about Agnes's life, including her own embellishments, to uncover her true story. Numerous illustrations, including rare photographs and circus memorabilia, bring Agnes's world to life.