A history of Australian feminism from the 1890s to the present day, examining the rise of feminism in the domains of work, home, body and public space. The book highlights and discusses the contributions of a number of important Australian feminists over this period, including migrant and Indigenous women and women with a disability. Women profiled include Catherine Helen Spence, Faith Bandler, Jessie Street, Zelda D'Aprano, Edith Cowan, Miles Franklin, Vida Goldstein, Pat O'Shane, Stella Young and others.
#1 INTERNATIONAL BESTSELLER • “A landmark manifesto" (The New York Times) that's a revelatory, inspiring call to action and a blueprint for individual growth that will empower women around the world to achieve their full potential. In her famed TED talk, Sheryl Sandberg described how women unintentionally hold themselves back in their careers. Her talk, which has been viewed more than eleven million times, encouraged women to “sit at the table,” seek challenges, take risks, and pursue their goals with gusto. Lean In continues that conversation, combining personal anecdotes, hard data, and compelling research to change the conversation from what women can’t do to what they can. Sandberg, COO of Meta (previously called Facebook) from 2008-2022, provides practical advice on negotiation techniques, mentorship, and building a satisfying career. She describes specific steps women can take to combine professional achievement with personal fulfillment, and demonstrates how men can benefit by supporting women both in the workplace and at home.
"In April 2011, a team of five people put together Slutwalk Toronto, a protest responding to slut shaming and victim blaming culture, exemplified by a recent event at Osgoode Hall Law School at York University. In the name of campus "safety," Toronto Police Constable Michael Sanguinetti advised "women should avoid dressing like sluts in order to not be victimized." The sentiment of those in the over 3,000 crowd that day were shared by folks around the globe - leading to over 200 Slutwalks internationally and the establishment of "Slutwalk" organizing groups. This collection engenders a critical engagement with the global phenomenon of the Slutwalk Movement, considering both its strengths and limitations. The chapters take up Slutwalk through a feminist lens (broadly defined) considering Slutwalk as a successful social movement, a site of tremendous controversy, and an ongoing discussion among and between waves of feminists across the life cycle and across the globe. Through poetry, photography, scholarly articles, creative non-fiction, personal essays, the collection seeks to unpack the discursive performance of Slutwalk as well as explore the experiences of people who attended various and diverse Slutwalks marches/protests in North America and Asia."--
An important new voice provides an empowering look at why video games need feminism—and why all of us should make space for more play in our lives. You play like a girl: It’s meant to be an insult, accusing a player of subpar, un-fun playing. If you’re a girl, and you grow up, do you “play like a woman”—whatever that means? In this provocative and enlightening book, Shira Chess urges us to play like feminists. Playing like a feminist is empowering and disruptive—it exceeds the boundaries of gender yet still advocates for gender equality. Roughly half of all players identify as female, and “Gamergate” galvanized many of gaming’s disenfranchised voices. Chess argues games are in need of a creative platform-expanding, metaphysical explosion—and feminism can take us there. She reflects on the importance of play, playful protest, and how feminist video games can help us rethink the ways that we tell stories. Feminism needs video games as much as video games need feminism. Play and games can be powerful. Chess’s goal is for all of us—regardless of gender orientation, ethnicity, ability, social class, or stance toward feminism—to spend more time playing as a tool of radical disruption.
A thoughtful and "utterly mind-blowing" exploration of fatherhood and masculinity in the 21st century (New York Times). There are hundreds of books on parenting, and with good reason—becoming a parent is scary, difficult, and life-changing. But when it comes to books about parenting identity, rather than the nuts and bolts of raising children, nearly all are about what it's like to be a mother. Drawing on research in sociology, economics, philosophy, gender studies, and the author's own experiences, Father Figure sets out to fill that gap. It's an exploration of the psychology of fatherhood from an archetypal perspective as well as a cultural history that challenges familiar assumptions about the origins of so-called traditional parenting roles. What paradoxes and contradictions are inherent in our common understanding of dads? Might it be time to rethink some aspects of fatherhood? Gender norms are changing, and old economic models are facing disruption. As a result, parenthood and family life are undergoing an existential transformation. And yet, the narratives and images of dads available to us are wholly inadequate for this transition. Victorian and Industrial Age tropes about fathers not only dominate the media, but also contour most people's lived experience. Father Figure offers a badly needed update to our collective understanding of fatherhood—and masculinity in general. It teaches dads how to embrace the joys of fathering while guiding them toward an image of manliness for the modern world.
In April 2011, a team of five people put together SlutWalk Toronto, a protest responding to slut shaming and victim blaming culture, exemplified by a recent event at Osgoode Hall Law School at York University. In the name of campus “safety,” Toronto Police Constable Michael Sanguinetti advised “women should avoid dressing like sluts in order to not be victimized.” The sentiment of those in the over 3000 person crowd that day were shared by folks around the globe — leading to over 200 SlutWalks internationally and the establishment of “SlutWalk” organizing groups. This collection engenders a critical engagement with the global phenomenon of the SlutWalk movement, considering both its strengths and limitations. The chapters take up SlutWalk through a feminist lens (broadly defined) considering SlutWalk as a successful social movement, a site of tremendous controversy, and an ongoing discussion among and between waves of feminists across the life cycle and across the globe. Through poetry, photography, scholarly articles, creative non-fiction, personal essays, the collection seeks to unpack the discursive performance of SlutWalk as well as explore the experiences of people who attended various and diverse SlutWalks marches/protests in North America and Asia.
Draws on stories from institutions and everyday women to discuss how feminism has been compromised by popular culture, politics, and market forces, with strategies for reversing such trends.
Outspoken critic Jessa Crispin delivers a searing rejection of contemporary feminism . . . and a bracing manifesto for revolution. Are you a feminist? Do you believe women are human beings and that they deserve to be treated as such? That women deserve all the same rights and liberties bestowed upon men? If so, then you are a feminist . . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more. Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression. Praise for Jessa Crispin, and The Dead Ladies Project "I'd follow Jessa Crispin to the ends of the earth." --Kathryn Davis, author of Duplex "Read with caution . . . Crispin is funny, sexy, self-lacerating, and politically attuned, with unique slants on literary criticism, travel writing, and female journeys. No one crosses genres, borders, and proprieties with more panache." --Laura Kipnis, author of Men: Notes from an Ongoing Investigation "Very, very funny. . . . The whole book is packed with delightfully offbeat prose . . . as raw as it is sophisticated, as quirky as it is intense." --The Chicago Tribune
A new way of thinking about data science and data ethics that is informed by the ideas of intersectional feminism. Today, data science is a form of power. It has been used to expose injustice, improve health outcomes, and topple governments. But it has also been used to discriminate, police, and surveil. This potential for good, on the one hand, and harm, on the other, makes it essential to ask: Data science by whom? Data science for whom? Data science with whose interests in mind? The narratives around big data and data science are overwhelmingly white, male, and techno-heroic. In Data Feminism, Catherine D'Ignazio and Lauren Klein present a new way of thinking about data science and data ethics—one that is informed by intersectional feminist thought. Illustrating data feminism in action, D'Ignazio and Klein show how challenges to the male/female binary can help challenge other hierarchical (and empirically wrong) classification systems. They explain how, for example, an understanding of emotion can expand our ideas about effective data visualization, and how the concept of invisible labor can expose the significant human efforts required by our automated systems. And they show why the data never, ever “speak for themselves.” Data Feminism offers strategies for data scientists seeking to learn how feminism can help them work toward justice, and for feminists who want to focus their efforts on the growing field of data science. But Data Feminism is about much more than gender. It is about power, about who has it and who doesn't, and about how those differentials of power can be challenged and changed.
With her award-winning debut novel, Purple Hibiscus, Chimamanda Ngozi Adichie was heralded by the Washington Post Book World as the “21st century daughter” of Chinua Achebe. Now, in her masterly, haunting new novel, she recreates a seminal moment in modern African history: Biafra’s impassioned struggle to establish an independent republic in Nigeria during the 1960s. With the effortless grace of a natural storyteller, Adichie weaves together the lives of five characters caught up in the extraordinary tumult of the decade. Fifteen-year-old Ugwu is houseboy to Odenigbo, a university professor who sends him to school, and in whose living room Ugwu hears voices full of revolutionary zeal. Odenigbo’s beautiful mistress, Olanna, a sociology teacher, is running away from her parents’ world of wealth and excess; Kainene, her urbane twin, is taking over their father’s business; and Kainene’s English lover, Richard, forms a bridge between their two worlds. As we follow these intertwined lives through a military coup, the Biafran secession and the subsequent war, Adichie brilliantly evokes the promise, and intimately, the devastating disappointments that marked this time and place. Epic, ambitious and triumphantly realized, Half of a Yellow Sun is a more powerful, dramatic and intensely emotional picture of modern Africa than any we have had before.
