From the best-selling author of Americanah and We Should All Be Feminists comes a powerful new statement about feminism today - written as a letter to a friend. A few years ago, Chimamanda Ngozi Adichie received a letter from a dear friend from childhood, asking her how to raise her baby girl as a feminist. Dear Ijeawele is Adichie's letter of response. Here are fifteen invaluable suggestions-compelling, direct, wryly funny, and perceptive-for how to empower a daughter to become a strong, independent woman. From encouraging her to choose a helicopter, and not only a doll, as a toy if she so desires; having open conversations with her about clothes, makeup, and sexuality; debunking the myth that women are somehow biologically arranged to be in the kitchen making dinner, and that men can "allow" women to have full careers, Dear Ijeawele goes right to the heart of sexual politics in the twenty-first century. It will start a new and urgently needed conversation about what it really means to be a woman today.

From Homer to Tim O'Brien, war literature remains largely the domain of male writers, and traditional narratives imply that the burdens of war are carried by men. But women and children disproportionately suffer the consequences of conflict: famine, disease, sexual abuse, and emotional trauma caused by loss of loved ones, property, and means of subsistence.Collateral Damage tells the stories of those who struggle on the margins of armed conflict or who attempt to rebuild their lives after a war. Bringing together the writings of female authors from across the world, this collection animates the wartime experiences of women as military mothers, combatants, supporters, war resisters, and victims. Their stories stretch from Rwanda to El Salvador, Romania to Sri Lanka, Chile to Iraq. Spanning fiction, poetry, drama, essay, memoir, and reportage, the selections are contextualized by brief author commentaries. The first collection to embrace so wide a range of contemporary authors from such diverse backgrounds, Collateral Damage seeks to validate and shine a light on the experiences of women by revealing the consequences of war endured by millions whose voices are rarely heard.

Revives the overlooked stories of pioneering women aviators, who are also featured in the forthcoming documentary film Coming Home: Fight for a Legacy During World War II, all branches of the military had women's auxiliaries. Only the Women Airforce Service Pilots (WASP) program, however, was made up entirely of women who undertook dangerous missions more commonly associated with and desired by men. Within military hierarchies, the World War II pilot was perceived as the most dashing and desirable of servicemen. "Flyboys" were the daring elite of the United States military. More than the WACs (Army), WAVES (Navy), SPARS (Coast Guard), or Women Marines, the WASPs directly challenged these assumptions of male supremacy in wartime culture. WASPs flew the fastest fighter planes and heaviest bombers; they test-piloted experimental models and worked in the development of weapons systems. Yet the WASPs were the only women's auxiliary within the armed services of World War II that was not militarized. In Clipped Wings, Molly Merryman draws upon military documents-many of which weren't declassified until the 1990s-congressional records, and interviews with the women who served as WASPs during World War II to trace the history of the over one thousand pilots who served their country as the first women to fly military planes. She examines the social pressures that culminated in their disbandment in 1944-even though a wartime need for their services still existed-and documents their struggles and eventual success, in 1977, to gain military status and receive veterans' benefits. In the preface to this reissued edition, Merryman reflects on the changes in women's aviation in the past twenty years, as NASA's new Artemis program promises to land the first female astronaut on the moon and African American and lesbian women are among the newest pilot recruits. Updating the story of the WASPs, Merryman reveals that even in the past few years there have been more battles for them to fight and more national recognition for them to receive. At its heart, the story of the Women Airforce Service Pilots is not about war or planes; it is a story about persistence and extraordinary achievement. These accomplished women pilots did more than break the barriers of flight; they established a model for equality.

This book explores the significance of gender in shaping the Portuguese-speaking world from the Middle Ages to the present. Sixteen scholars from disciplines including history, sociology, anthropology, linguistics, literature and cultural studies analyse different configurations and literary representations of women's rights and patriarchal constraints. Unstable constructions of masculinity, femininity, queer, homosexual, bisexual, and transgender identities and behaviours are placed in historical context. The volume pioneers in gendering the Portuguese expansion in Africa, Asia, and the New World and pays particular attention to an inclusive account of indigenous agencies. Contributors are: Darlene Abreu-Ferreira, Vanda Anastacio, Francisco Bethencourt, Dorothee Boulanger, Rosa Maria dos Santos Capelao, Maria Judite Mario Chipenembe, Gily Coene, Philip J. Havik, Ben James, Anna M. Klobucka, Chia Longman, Amelia Polonia, Ana Maria S. A. Rodrigues, Isabel dos Guimaraes Sa, Ana Cristina Santos, and Joao Paulo Silvestre.

Uncovers the long history of how Latino manhood was integral to the formation of Latino identity In the first ever book-length study of Latino manhood before the Civil Rights Movement, Before Chicano examines Mexican American print culture to explore how conceptions of citizenship and manhood developed in the nineteenth and twentieth centuries. The year 1848 saw both the signing of the Treaty of Guadalupe Hidalgo that ended the U.S. Mexican War and the year of the Seneca Falls Convention, the first organized conference on women's rights in the United States. These concurrent events signaled new ways of thinking about U.S. citizenship, and placing these historical moments into conversation with the archive of Mexican American print culture, Varon offers an expanded temporal frame for Mexican Americans as long-standing participants in U.S. national projects. Pulling from a wide-variety of familiar and lesser-known works-from fiction and newspapers to government documents, images, and travelogues-Varon illustrates how Mexican Americans during this period envisioned themselves as U.S. citizens through cultural depictions of manhood. Before Chicano reveals how manhood offered a strategy to disparate Latino communities across the nation to imagine themselves as a cohesive whole-as Mexican Americans-and as political agents in the U.S. Though the Civil Rights Movement is typically recognized as the origin point for the study of Latino culture, Varon pushes us to consider an intellectual history that far predates the late twentieth century, one that is both national and transnational. He expands our framework for imagining Latinos' relationship to the U.S. and to a past that is often left behind.

This is the first full-length book to provide an introduction to badhai performances throughout South Asia, examining their characteristics and relationships to differing contexts in Bangladesh, India, and Pakistan. Badhai's repertoires of songs, dances, prayers, and comic repartee are performed by socially marginalised hijra, khwaja sira, and trans communities. They commemorate weddings, births and other celebratory heteronormative events. The form is improvisational and responds to particular contexts, but also moves across borders, including those of nation, religion, genre, and identity. This collaboratively authored book draws from anthropology, theatre and performance studies, music and sound studies, ethnomusicology, queer and transgender studies, and sustained ethnographic fieldwork to examine badhai's place-based dynamics, transcultural features, and communications across the hijrascape. This vital study explores the form's changing status and analyses these performances' layered, scalar, and sensorial practices, to extend ways of understanding hijra-khwaja sira-trans performance.

Tikim: Essays on Philippine Food and Culture by Doreen G. Fernandez is a groundbreaking work that introduces readers to the wondrous history of Filipino foodways. First published by Anvil in 1994, Tikim explores the local and global nuances of Philippine cuisine through its people, places, feasts, and flavors. Doreen Gamboa Fernandez (1934-2002) was a cultural historian, professor, author, and columnist. Her food writing educated and inspired generations of chefs and food enthusiasts in the Philippines and throughout the world. This Brill volume honors and preserves Fernandez's legacy with a reprinting of Tikim, a foreword by chef and educator Aileen Suzara, and an editor's preface by historian Catherine Ceniza Choy.

Though there has been a rapid increase of women's representation in law and business, their representation in STEM fields has not been matched. Researchers have revealed that there are several environmental and social barriers including stereotypes, gender bias, and the climate of science and engineering departments in colleges and universities that continue to block women's progress in STEM. In this book, the authors address the issues that encounter women of color in STEM in higher education.

The discovery of gold in the southern Black Hills in 1874 set off one of the great gold rushes in America. In 1876, miners moved into the northern Black Hills. That's where they came across a gulch full of dead trees and a creek full of gold and Deadwood was born. Practically overnight, the tiny gold camp boomed into a town that played by its own rules that attracted outlaws, gamblers and gunslingers along with the gold seekers. Deadwood was comprised mostly of single men, a ration of men to women as high as 8 to 1, never less than 3 to 1.The lack of affordable housing, the hostile environment, the high cost of travel, and the expense of living in Deadwood prevented many men from bringing their wives, girlfriends and families to the growing town. Hoards of prostitutes and madams came to Deadwood to capitalize on the lack of women. By the mid-1880s, there were more than a hundred fifty brothels in the mining community. The most notorious cat house in Deadwood was owned and operated by Al Swearengen. Swearengen was an entertainment entrepreneur who opened the house of ill-reputed shortly after he arrived in town in the spring of 1876.Initially known as The Gem, the brothel was host to a number of well-known soiled doves of the Old West from Eleanor Dumont to Nita Celaya. The brothel was in continual operation for more than sixty years. The business changed hands a number of times during the six decades it was in existence. Among the many madams who ran the cat house were Poker Alice Tubbs, Mert O'Hara, and Gertrude Bell. The business also changed names a number of times. It was known as Fern's Place, The Combination, and The Meoldian. When the brothel officially closed in 1956, it was known as The Beige Door. In the spring of 2022, The Beige Door will once again be open for business. This time as a museum. The South Dakota Historical Society have invested in refurbishing the brothel and making it ready for the public to tour. The book Deadwood's Red-Light Ladies: Behind the Beige Door will focus on the infamous cat house, those that managed the business, their employees, its well-known clientele, the various crimes committed at the location, and its ultimate demise.

The Trouble with Harry, the story of Eugenia Falleni, the notorious 'ManWoman' of Sydney in the early 1900's, is a thrilling new play by award winning Australian playwright Lachlan Philpott Colder/ Silent Disco]. Falleni enjoys a unique place in Sydney's bawdy history and her story continues to fascinate. An Italian immigrant, Falleni lived much of her life as a man - Harry Crawford - and served time in prison for the murder of her own wife. Developed as part of the PlayWriting Australia National Script Workshop, this work takes an idiosyncratic look at the Falleni story, questions versions of this history and looks at contemporary debates and assumptions surrounding gender.