In this graphic novel, science fiction meets psychosexual drama when four women try to bring “civilization” to the natives of a remote planet on the fringes of the known universe. Something dark is growing in Mopu. The only question is whether the danger that will undo the women’s delicate camaraderie is outside the gates―or within. House of Women is Goldstein’s second solo graphic novel, following 2015’s The Oven (AdHouse Books), which appeared on many year-end “Best of ” lists, including Publisher’s Weekly and Slate.
This group biography explores the lives, work, and personal relations of nine white, middle- and upper-middle-class women who were involved in the first decade of Chicago's premier social settlement. This "galaxy of stars"--as they were called in their own day--were active in innumerable political, social, and religious reform efforts. The Women of Hull House refutes the humanistic interpretation of the social settlement movement. Its spiritual base is highlighted as the author describes it as the practical/ethical side of the social gospel movement and as an attempt to transform late nineteenth-century evangelical and doctrinal Christian religion. While the women of Hull House differed from one another in their theological beliefs and were often critical of orthodox Christianity, they were motivated by Christian ideals. By showing the interconnections of spirituality, vocation, and friendship, the author argues that individual actions for social changes must take place within communities which provide a level of uniting vision yet allow for diverse actions and viewpoints.
A portrait of an ambitious seventeenth-century woman merchant documents how Margaret Hardenbroeck Philipse built a trading empire in New Amsterdam while managing a home that included her five children, describing how she and her female descendants transformed her storeroom into the Philipse Manor Hall and enjoyed prestige until the Revolution. Reprint.
An inspiring history of all the women who have taken a seat in Congress! For the first 128 years of America’s history, only men served in the Senate and House of Representatives. All that changed in January 1917 when Jeannette Rankin was sworn in as the first woman elected to Congress. From the women’s suffrage movement to the 2018 election, Ilene Cooper highlights influential and diverse female leaders who opened doors for women in politics. Women featured include Nancy Pelosi (the first woman Speaker of the House), Margaret Chase Smith (the first woman elected to the Senate), Patsy Mink (the first woman of color to serve in the House), and newcomers like Representatives Alexandria Ocasio-Cortez and Ilhan Omar. This updated book includes archival photographs and lively illustrations from Elizabeth Baddeley, as well as a chart of all the women who have served in Congress, appendices that define key terms and governmental procedures, and an index. In a great new reading format, this updated, revised edition is perfect for young feminists!
Investigates how women patrons of architecture were essential catalysts for innovation in domestic architectural design. This book explores the challenges that unconventional attitudes and ways of life presented to architectural thinking, and to the architects themselves.
This singular history of a prison, and the queer women and trans people held there, is a window into the policing of queerness and radical politics in the twentieth century. The Women's House of Detention, a landmark that ushered in the modern era of women's imprisonment, is now largely forgotten. But when it stood in New York City's Greenwich Village, from 1929 to 1974, it was a nexus for the tens of thousands of women, transgender men, and gender-nonconforming people who inhabited its crowded cells. Some of these inmates--Angela Davis, Andrea Dworkin, Afeni Shakur--were famous, but the vast majority were incarcerated for the crimes of being poor and improperly feminine. Today, approximately 40 percent of the people in women's prisons identify as queer; in earlier decades, that percentage was almost certainly higher. Historian Hugh Ryan explores the roots of this crisis and reconstructs the little-known lives of incarcerated New Yorkers, making a uniquely queer case for prison abolition--and demonstrating that by queering the Village, the House of D helped defined queerness for the rest of America. From the lesbian communities forged through the Women's House of Detention to the turbulent prison riots that presaged Stonewall, this is the story of one building and much more: the people it caged, the neighborhood it changed, and the resistance it inspired.
Two notions intersect in the 'Women House' exhibition: a gender (female) and a space (the domestic sphere). Architecture and public space have traditionally been male preserves, whereas domestic space has been that of women; this historic fact is not, however, inevitable, as the exhibition demonstrates. Is the 'woman-house' a refuge or a prison, or can it become a space for creativity? The exhibition and accompanying catalogue reflect the complexity of possible points of view on the subject, which are not only feminist but also poetic and nostalgic. Women artists turn the house inside out: a symbol of isolation becomes a symbol of the construction of identity, the intimate becomes political, private space becomes public space, and the body turns into a piece of architecture. According to different cultural contexts and generations of artists, the house becomes a body-house, a homeland-house, or even a world-house.
Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - ‘the eccentric’ - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. HOUSE OF PSYCHOTIC WOMEN is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and a celebration of female madness, both onscreen and off. This critically-acclaimed publication is packed with rare images that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, Paranormal Activity, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let’s Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more. Prior to this ebook edition, Kier-La's highly acclaimed book has already been issued twice in hardcover and twice in paperback, garnering extensive press coverage. Endorsement including the following: “God, this woman can write, with a voice and intellect that’s so new. The truth in the most deadly unique way I’ve ever read.” – Ralph Bakshi, director of ‘Fritz the Cat’, ‘Heavy Traffic’, ‘Lord of the Rings’, etc. “Fascinating, engaging and lucidly written: an extraordinary blend of deeply researched academic analysis and revealing memoir.” – Iain Banks, author of ‘The Wasp Factory’
The iceman cometh.— Hotel mogul Eben Spencer had learned long ago to keep his eye on the ball and his emotions under wraps. And where had this philosophy got him so far? In business, to the pinnacle of success. And in his personal life, it had brought him one beloved, if unhappy, little girl, and one shattered marriage. And he was not about to embark on another one anytime soon.—But then he met Sage Benedetto. The bewitching nature girl was everything Eben was not—warm, emotional, open—and everything he'd never dreamed he'd want. But lately he was having very different dreams.—
From the author of A Midwife's Tale, winner of the Pulitzer Prize and the Bancroft Prize for History, and The Age of Homespun--a revelatory, nuanced, and deeply intimate look at the world of early Mormon women whose seemingly ordinary lives belied an astonishingly revolutionary spirit, drive, and determination. A stunning and sure-to-be controversial book that pieces together, through more than two dozen nineteenth-century diaries, letters, albums, minute-books, and quilts left by first-generation Latter-day Saints, or Mormons, the never-before-told story of the earliest days of the women of Mormon "plural marriage," whose right to vote in the state of Utah was given to them by a Mormon-dominated legislature as an outgrowth of polygamy in 1870, fifty years ahead of the vote nationally ratified by Congress, and who became political actors in spite of, or because of, their marital arrangements. Laurel Thatcher Ulrich, writing of this small group of Mormon women who've previously been seen as mere names and dates, has brilliantly reconstructed these textured, complex lives to give us a fulsome portrait of who these women were and of their "sex radicalism"--the idea that a woman should choose when and with whom to bear children.
