Women are bombarded with ideas of perfection--and tips for how to achieve it--every day. From her work to her looks to her parenting, today's modern woman is expected to strive to be picture perfect in every way. As a result, calls for authenticity and imperfection are on the rise. Yet, deep down, most of us still want to achieve perfection. Why? The desire to be perfect, says Kim Hyland, is actually a God-given urge. After all, we were made for Eden. But there is a difference between perfection and perfectionism, which is our attempt to achieve perfection on our own, by our own strength, and for our own purposes--the original temptation in the Garden. In this freeing book, Hyland offers women a stirring manifesto for acknowledging their limitations and embracing the perfection of God through his grace. This is a book for every woman who gives 110% and yet feels shame when one little thing goes wrong.

""I wish to be the thinnest girl at school, or maybe even the thinnest eleven-year-old on the entire planet,"" confides Lori Gottlieb to her diary. "I mean, what are girls supposed to wish for, other than being thin?"
For a girl growing up in Beverly Hills in 1978, the motto "You can never be too rich or too thin" is writ large. Precocious Lori learns her lessons well, so when she's told that "real women don't eat dessert" and "no one could ever like a girl who has thunder thighs," she decides to become a paragon of dieting. Soon Lori has become the "stick figure" she's longed to resemble. But then what? "Stick Figure" takes the reader on a gripping journey, as Lori struggles to reclaim both her body and her spirit.
By turns painful and wry, Lori's efforts to reconcile the conflicting messages society sends women ring as true today as when she first recorded these impressions. "One diet book says that if you drink three full glasses of water one hour before every meal to fill yourself up, you'll lose a pound a day. Another book says that once you start losing weight, everyone will ask, 'How did you do it?' but you shouldn't tell them because it's 'your little secret.' Then right above that part it says, "'New York Times" bestseller.' Some secret."
With an edgy wit and keenly observant eye, "Stick Figure" delivers an engrossing glimpse into the mind of a girl in transition to adulthood. This raw, no-holds-barred account is a powerful cautionary tale about the dangers of living up to society's expectations.

If conventional business and marketing advice has not landed in your heart and soul very well and you are spending too much time online, then this book is for you!

Quiet Marketing is a book for highly sensitive solopreneurs who are seeking a calm, uncomplicated, minimal approach to business and online visibility.

Inside, you'll discover:

* Why quiet marketing is not about playing small or being unnoticed in the marketplace.

* Your role in influencing positive change in the world through your message.

* Simple ways for your ideal clients to discover you that don't require you to be online all the time.

* How to work from a smaller plate, do less things (better) and accomplish more.

* How to trust your ideas and creations, especially when they are contrary to what everyone else is saying and doing.

And much more!

These pages will inspire you to approach business and marketing differently, contribute to positive change through your message, prioritise your well being, and give you confidence to create success on your own terms.

Malalai Joya was named one of "Time "magazine's 100 Most Influential People of 2010. An extraordinary young woman raised in the refugee camps of Iran and Pakistan, Joya became a teacher in secret girls' schools, hiding her books under her burqa so the Taliban couldn't find them; she helped establish a free medical clinic and orphanage in her impoverished home province of Farah; and at a constitutional assembly in Kabul, Afghanistan, in 2003, she stood up and denounced her country's powerful NATO-backed warlords. She was twenty-five years old. Two years later, she became the youngest person elected to Afghanistan's new Parliament. In 2007, she was suspended from Parliament for her persistent criticism of the warlords and drug barons and their cronies. She has survived four assassination attempts to date, is accompanied at all times by armed guards, and sleeps only in safe houses.
Joya takes us inside this massively important and insufficiently understood country, shows us the desperate day-to-day situations its remarkable people face at every turn, and recounts some of the many acts of rebellion that are helping to change it. A controversial political figure in one of the most dangerous places on earth, Malalai Joya is a hero for our times.

In 1988 Virginia Fabella from the Philippines and Mercy Amba Oduyoye from Ghana coedited With Passion and Compassion: Third world Women Doing Theology, based on the work of the Women's Commission of the Ecumenical Association of Third World Theologians (EATWOT). The book has been widely used as an important resource for understanding women's liberation theologies, in Africa, Asia, and Latin America emerging out of women's struggles for justice in church and society. More than twenty years have passed and it is time to bring out a new collection of essays to signal newer developments and to include emerging voices.

Divided into four partsContext and Theology; Scripture; Christology; and Body, Sexuality, and Spiritualitythese carefully selected essays paint a vivid picture of theological developments among indigenous women and other women living in the global South who face poverty, violence, and war and yet find abundant hope through their faith.

This timely Handbook of Research Methods on Gender and Management exemplifies the multiplicity of gender and management research and provides effective guidance for putting methods into practice. Through a range of international perspectives, contributors present an essential resource of diverse research methods, including illustrative examples from corporate, public and entrepreneurial sectors. Chapters offer clear guidance, considering opportunities and challenges of differing approaches to research and exploring their ethical implications in practice. Outlining autoethnographical, practical, critical and methodological approaches to research, the Handbook illustrates a broad base from which to build a research project in gender and management. This cutting-edge Handbook is crucial reading for scholars of gender and management, highlighting useful methods and practices for accessing key scholarly insights. It will also benefit graduate students in need of a guided entry into the field of gender and management.

The rare woman director working in second-wave exploitation, Stephanie Rothman (b. 1936) directed seven successful feature films, served as the vice president of an independent film company, and was the first woman to win the Directors Guild of America's student filmmaking prize. Despite these career accomplishments, Rothman retired into relative obscurity. In The Cinema of Stephanie Rothman: Radical Acts in Filmmaking, author Alicia Kozma uses Rothman's career as an in-depth case study, intertwining historical, archival, industrial, and filmic analysis to grapple with the past, present, and future of women's filmmaking labor in Hollywood. Understanding second wave exploitation filmmaking as a transitory space for the industrial development of contemporary Hollywood that also opened up opportunities for women practitioners, Kozma argues that understudied film production cycles provide untapped spaces for discovering women's directorial work. The professional career and filmography of Rothman exemplify this claim. Rothman also serves as an apt example for connecting the structure of film histories to the persistent strictures of rhetorical language used to mark women filmmakers and their labor. Kozma traces these imbrications across historical archives. Adopting a diverse methodological approach, The Cinema of Stephanie Rothman shines a needed spotlight on the problems and successes of the memorialization of women's directorial labor, connecting historical and contemporary patterns of gendered labor disparity in the film industry. This book is simultaneously the first in-depth scholarly consideration of Rothman, the debut of the most substantive archival materials collected on Rothman, and a feminist political intervention into the construction of film histories.