An intimate and inspiring memoir and call to action from Pat Mitchell -- groundbreaking media icon, global advocate for women's rights, and co-founder and curator of TEDWomen Pat Mitchell is a serial ceiling smasher. The first woman to own and host a nationally syndicated daily talk show, and the first female president of CNN productions and PBS, Mitchell has been lauded as a powerful changemaker and a relentless advocate for women and girls. In Becoming a Dangerous Woman, Mitchell shares her own path to power, from a childhood spent on a cotton farm in the South to her unprecedented rise in media and global affairs. Full of intimate, fascinating stories, such as an encounter with Fidel Castro while wearing a swimsuit, and traveling to war zones with Eve Ensler and Glenn, Becoming a Dangerous Woman is an inspiring call to arms for women who are ready to dismantle the barriers they see in their own lives.

What does it mean for the Sun to call Shami Chakrabarti ‘the most dangerous woman in Britain’ or the Daily Mail to label Nicola Sturgeon ‘the most dangerous wee woman in the world’? What, really, does it mean to be a dangerous woman? This powerful anthology presents fifty answers to that question, reaching past media hyperbole to explore serious considerations about the conflicts and power dynamics with which women live today. In Dangerous Women, writers, artists, politicians, journalists, performers and opinion-formers from a variety of backgrounds – including Irenosen Okojie, Jo Clifford, Bidisha, Nada Awar Jarrar, Nicola Sturgeon and many more – reflect on the long-standing idea that women, individually or collectively, constitute a threat. In doing so, they celebrate and give agency to the women who have been dismissed or trivialised for their power, talent and success – the women who have been condemned for challenging the status quo. They reclaim the right to be dangerous.

WINNER OF THE HILLMAN PRIZE FOR BOOK JOURNALISM, THE HELEN BERNSTEIN BOOK AWARD, AND THE LUKAS WORK-IN-PROGRESS AWARD * A NEW YORK TIMES TOP 10 BOOKS OF THE YEAR * NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST * LOS ANGELES TIMES BOOK PRIZE FINALIST * ABA SILVER GAVEL AWARD FINALIST * KIRKUS PRIZE FINALIST NAMED ONE OF THE BEST BOOKS OF 2019 BY: Esquire, Amazon, Kirkus, Library Journal, Publishers Weekly, BookPage, BookRiot, Economist, New York Times Staff Critics “A seminal and breathtaking account of why home is the most dangerous place to be a woman . . . A tour de force.” -Eve Ensler "Terrifying, courageous reportage from our internal war zone." -Andrew Solomon "Extraordinary." -New York Times ,“Editors' Choice” “Gut-wrenching, required reading.” -Esquire "Compulsively readable . . . It will save lives." -Washington Post “Essential, devastating reading.” -Cheryl Strayed, New York Times Book Review An award-winning journalist's intimate investigation of the true scope of domestic violence, revealing how the roots of America's most pressing social crises are buried in abuse that happens behind closed doors. We call it domestic violence. We call it private violence. Sometimes we call it intimate terrorism. But whatever we call it, we generally do not believe it has anything at all to do with us, despite the World Health Organization deeming it a “global epidemic.” In America, domestic violence accounts for 15 percent of all violent crime, and yet it remains locked in silence, even as its tendrils reach unseen into so many of our most pressing national issues, from our economy to our education system, from mass shootings to mass incarceration to #MeToo. We still have not taken the true measure of this problem. In No Visible Bruises, journalist Rachel Louise Snyder gives context for what we don't know we're seeing. She frames this urgent and immersive account of the scale of domestic violence in our country around key stories that explode the common myths-that if things were bad enough, victims would just leave; that a violent person cannot become nonviolent; that shelter is an adequate response; and most insidiously that violence inside the home is a private matter, sealed from the public sphere and disconnected from other forms of violence. Through the stories of victims, perpetrators, law enforcement, and reform movements from across the country, Snyder explores the real roots of private violence, its far-reaching consequences for society, and what it will take to truly address it.

Named one of 2021’s Most Anticipated Historical Novels by Oprah Magazine ∙ Cosmopolitan ∙ and more! Nearly two hundred condemned women board a transport ship bound for Australia. One of them is a murderer. From debut author Hope Adams comes a thrilling novel based on the 1841 voyage of the convict ship Rajah, about confinement, hope, and the terrible things we do to survive. London, 1841. One hundred eighty Englishwomen file aboard the Rajah, embarking on a three-month voyage to the other side of the world. They're daughters, sisters, mothers—and convicts. Transported for petty crimes. Except one of them has a deadly secret, and will do anything to flee justice. As the Rajah sails farther from land, the women forge a tenuous kinship. Until, in the middle of the cold and unforgiving sea, a young mother is mortally wounded, and the hunt is on for the assailant before he or she strikes again. Each woman called in for question has something to fear: Will she be attacked next? Will she be believed? Because far from land, there is nowhere to flee, and how can you prove innocence when you’ve already been found guilty?

While on spring break in Aruba, Anna is accused of her best friend's death and must stand trial for murder in a foreign country.

This savvy, straightforward book pairs real women's stories with research and the expertise of a domestic violence counselor to help women of all ages identify Dangerous Men -- before they become too involved. Brown describes eight types of Dangerous Men, their specific traits and characteristics. In separate chapters, she explores victim’s stories that tell how they came in contact with this type of Dangerous Man and their outcome. Brown then shows readers how to develop a Defense Strategy -- how to spot, avoid, or rid themselves of this type of Dangerous Man. Brown explains women's innate "red flag" systems -- how they work to signal impending danger, and why many women learn to ignore them. With red flags in hand, Brown then guides readers through their own personal experiences to develop a personalized "Do Not Date" list. With these tools, Brown shows women how they can spot and avoid patterns of engagement with Dangerous Men.

After witnessing a murder, high school senior Stella Gordon is sent to Nebraska for her own safety where she chafes at her protection, but when she meets Chet Falconer it becomes harder for her to keep her guard up, and soon she has to deal with the real threat to her life as her enemies are actually closer than she thinks.

“Once again, Elizabeth Thornton has taken the perfect ingredients—tight plotting, strong conflict, and smooth characters, and sewn them into a seamless romp!”—Literary Times Searching for his missing wife but finding instead her look-alike, fiery-tempered Catherine Courtnay, Marcus Lytton, the Earl of Wrotham, asks Catherine Courtnay to pose as his wife in order to help his investigation. “A major, major talent . . . a genre superstar.”—Rave Reviews

The author--a lesbian, sex radical, ex-hooker, feminist, leftist organizer, and award-winning filmmaker--presents over 20 years of her writings and five new essays, including "A Queer Girl Dreaming Her Way Home". She looks at themes such as the relationship between activism and desire and how sexuality is tied to one's class identity. 41 photos.

In a political moment when social panics over literature are at their peak, Dangerous Fictions is a mind-expanding treatise on the nature of fictional stories as cultural battlegrounds for power. Fictional stories have long held an uncanny power over hearts and minds, especially those of young people. In Dangerous Fictions, Lyta Gold traces arguments both historical and contemporary that have labeled fiction as dark, immoral, frightening, or poisonous. Within each she asks: How “dangerous” is fiction, really? And what about it provokes waves of moral panic and even censorship? Gold argues that any panic about art is largely a disguised panic about power. There have been versions of these same fights over fiction for centuries. By exposing fiction as a social danger and a battleground of immediate public concern, we can see what each side really wants—the right to shape the future of a world deeply in flux and a distraction from more pressing material concerns about money, access, and the hard work of politics. From novels about people driven insane by reading novels to “copaganda” TV shows that influence how viewers regard the police, Gold uses her signature wit, research, and fearless commentary to point readers toward a more substantial question: Fiction may be dangerous to us, but aren’t we also dangerous to it?