From Teen Vogue sex and love columnist Nona Willis Aronowitz, a blend of memoir, social history, and cultural criticism that explores the new "problem that has no name" when it comes to female desire, seeking answers from the author's life and family history as well as from revolutionaries of the past. The daughter of Ellen Willis (of Second Wave Feminist fame), Nona grew up not only believing the feminist revolution was thriving, but that she was a result: She was sexually liberated, wrote her college thesis on 1970s porn, and had genuinely good sex from the time she was a teen. But then at twenty-four, she entered into an ironic and unplanned marriage that become a surprisingly seductive trap into conventional life. But eight years later that partnership was starting to show signs of wear and eventually culminated in divorce. It was in that moment of personal sea change and political tumult that Nona turned to her late mother's writing (and other revolutionaries of the past) for guidance, all while navigating the modern dating world. In a time when sex has never been more accepted and feminism has never been more mainstream, what does it mean to be sexually liberated? For readers of Rebecca Traister and Rebecca Solnit, Bad Sex is a brave, bold, and vulnerable exploration of the enduring barriers of sexual freedom, which lays bare the triumphs and flaws of contemporary feminism and also helps shine a light on universal questions of desire.

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"Out of the Vinyl Deeps," published in 2011, introduced a new generation to the incisive, witty, and merciless voice of Ellen Willis through her pioneering rock music criticism. In the years that followed, Willis's daring insights went beyond popular music, taking on such issues as pornography, religion, feminism, war, and drugs.

"The Essential Ellen Willis" gathers writings that span forty years and are both deeply engaged with the times in which they were first published and yet remain fresh and relevant amid today's seemingly intractable political and cultural battles. Whether addressing the women's movement, sex and abortion, race and class, or war and terrorism, Willis brought to each a distinctive attitude--passionate yet ironic, clear-sighted yet hopeful.

Offering a compelling and cohesive narrative of Willis's liberationist "transcendence politics," the essays--among them previously unpublished and uncollected pieces--are organized by decade from the 1960s to the 2000s, with each section introduced by young writers who share Willis's intellectual bravery, curiosity, and lucidity: Irin Carmon, Spencer Ackerman, Cord Jefferson, Ann Friedman, and Sara Marcus. "The Essential Ellen Willis" concludes with excerpts from Willis's unfinished book about politics and the cultural unconscious, introduced by her longtime partner, Stanley Aronowitz. An invaluable reckoning of American society since the 1960s, this volume is a testament to an iconoclastic and fiercely original voice.

In 1968, the "New Yorker" hired Ellen Willis as its first popular music critic. Her column, Rock, Etc., ran for seven years and established Willis as a leader in cultural commentary and a pioneer in the nascent and otherwise male-dominated field of rock criticism. As a writer for a magazine with a circulation of nearly half a million, Willis was also the country's most widely read rock critic. With a voice at once sharp, thoughtful, and ecstatic, she covered a wide range of artists--Bob Dylan, The Who, Van Morrison, Elvis Presley, David Bowie, the Rolling Stones, Creedence Clearwater Revival, Joni Mitchell, the Velvet Underground, Sam and Dave, Bruce Springsteen, and Stevie Wonder--assessing their albums and performances not only on their originality, musicianship, and cultural impact but also in terms of how they made her feel.
Because Willis stopped writing about music in the early 1980s--when, she felt, rock 'n' roll had lost its political edge--her significant contribution to the history and reception of rock music has been overshadowed by contemporary music critics like Robert Christgau, Lester Bangs, and Dave Marsh. "Out of the Vinyl Deeps" collects for the first time Willis's Rock, Etc. columns and her other writings about popular music from this period (includingliner notes for works by Lou Reed and Janis Joplin) and reasserts her rightful place in rock music criticism.
More than simply setting the record straight, "Out of the Vinyl Deeps" reintroduces Willis's singular approach and style--her use of music to comment on broader social and political issues, critical acuity, vivid prose, against-the-grain opinions, and distinctly female (and feminist) perspective--to a new generation of readers. Featuring essays by the "New Yorker"'s current popular music critic, Sasha Frere-Jones, and cultural critics Daphne Carr and Evie Nagy, this volume also provides a lively and still relevant account of rock music during, arguably, its most innovative period.