All their lives the Female Furies have been raised to be the meanest, most cunning, and most ruthless fighting force on all of Apokolips. So why are Granny Goodness's girls left behind every time the men go to war? With the might of New Genesis hanging over the planet, and the Forever People making mincemeat out of Darkseid's army, Granny thinks it's about time that changed. And so, Big Barda, Aurelie, Mad Harriet, Lashina, Bernadeth, and Stompa set out to beat the boys at their own game. Little do they know the game is rigged- and one accidental killing could spell disaster for them all! Collects Female Furies #1-6, plus Jack Kirby's Mister Miracle #9, the issue that inspired this series.

About the participation of German women in World War II and in the Holocaust.

Scott Free has escaped Apokolips, and now itÕs all-out war between that wretched planet and New Genesis. This is good news for the Furies, who now have a clear mission to fulfill: keep Scott Free from joining the other side. ThatÕs bad news for Big Barda, who has fallen in love with the future Mister Miracle. ItÕs a race to Earth to see who can get to Scott first, and maybe BardaÕs last chance to convince her sisters that they donÕt have to do what Darkseid says anymoreÑwhich could be the only way she comes out of this alive herself.

Is there life beyond the confines of Apokolips? Scott Free, the future Mister Miracle, is about to find out. But when Big Barda plays a role in his escape, it could spell trouble not just for her potential promotion to the role of the leader of the Female Furies, but to the very existence of the Furies. The women warriors already have too many secrets among them, and if one is exposed, all are exposed. But which of Darkseid’s minions holds the true key to their destruction? Could it possibly be Granny Goodness herself?

In this extraordinary fantasy epic, the #1 New York Times bestselling author of the Dresden Files leads readers into a world where the fate of the realm rests on the shoulders of a boy with no power to call his own... For a thousand years, the people of Alera have united against the aggressive and threatening races that inhabit the world, using their unique bond with the furies—elementals of earth, air, fire, water, wood, and metal. But in the remote Calderon Valley, the boy Tavi struggles with his lack of furycrafting. At fifteen, he has no wind fury to help him fly, no fire fury to light his lamps. Yet as the Alerans’ most savage enemy—the Marat horde—return to the Valley, Tavi’s courage and resourcefulness will be a power greater than any fury, one that could turn the tides of war...

If Hell hath no fury like a woman scorned, how will Apokolips handle five Female Furies who have had enough of Darkseid’s mess?! In this exciting finale, Big Barda has mobilized her sisters to take on Darkseid and his mewling minions once and for all—and the whole planet is going to feel it when the Furies throw down!

This issue, weÕre trapped in the dreams of Beautiful Dreamer! The Forever People are ApokolipsÕ Most Wanted and bringing one of them to the planet is treason all unto itself, so the fact that GrannyÕs plan to brainwash her Female Furies has backfired, Beautiful Dreamer is on the loose and the rogue Fury Aurelie is to blame canÕt be good for anyone. Can Granny track down these fugitives before Darkseid discovers that his warrior women are the source of his armyÕs recent troubles in the war against New Genesis?

Gabon’s first female novelist, Angèle Rawiri probed deeper into the issues that writers a generation before her—Mariama Bâ and Aminata Sow Fall—had begun to address. Translated by Sara Hanaburgh, this third novel of the three Rawiri published is considered the richest of her fictional prose. It offers a gripping account of a modern woman, Emilienne, who questions traditional values and seeks emancipation from them. Emilienne’s active search for feminism on her own terms is tangled up with cultural expectations and taboos of motherhood, marriage, polygamy, divorce, and passion. She completes her university studies in Paris; marries a man from another ethnic group; becomes a leader in women’s liberation; enjoys professional success, even earning more than her husband; and eventually takes a female lover. Yet still she remains unsatisfied. Those closest to her, and even she herself, constantly question her role as woman, wife, mother, and lover. The tragic death of her only child—her daughter Rékia—accentuates Emilienne’s anguish, all the more so because of her subsequent barrenness and the pressure that she concede to her husband’s taking a second wife. In her forceful portrayal of one woman’s life in Central Africa in the late 1980s, Rawiri prompts us not only to reconsider our notions of African feminism and the canon of francophone African women’s writing but also to expand our awareness of the issues women face across the world today in the workforce, in the bedroom, and among family and peers.

In four chapters, each dedicated to an experimental American novelist of the postmodern period, Male Rage Female Fury investigates what happens when novels that have defied traditional literary conventions such as temporal chronology, refuse to break with traditional gender-based stereotypes. The result, Maxwell argues, is an ambiguity or "internal tension" that may eventually produce more misogynistic images within the texts. Central to the study is an analysis of the violence, male and female initiated, in the works of the minimalists Barthelme and Didion, and the mythicists Pynchon and Morrison.

In the late nineteenth and early twentieth centuries, radical women’s movements and the avant-gardes were often in contact with one another, brought together through the socialist internationals. Juno Jill Richards argues that these movements were not just socially linked but also deeply interconnected. Each offered the other an experimental language that could move beyond the nation-state’s rights of man and citizen, suggesting an alternative conceptual vocabulary for women’s rights. Rather than focus on the demand for the vote, The Fury Archives turns to the daily practices and social worlds of feminist action. It offers an alternative history of women’s rights, practiced by female arsonists, suffragette rioters, industrial saboteurs, self-named terrorists, lesbian criminals, and queer resistance cells. Richards also examines the criminal proceedings that emerged in the wake of women’s actions, tracing the way that citizen and human emerged as linked categories for women on the fringes of an international campaign for suffrage. Recovering a transatlantic print archive, Richards brings together a wide range of activists and artists, including Lumina Sophie, Ina Césaire, Rosa Luxemburg, Rebecca West, Angelina Weld Grimké, Elizabeth Gurley Flynn, Hannah Höch, Claude Cahun, Paulette Nardal, and Leonora Carrington. An expansive and methodologically innovative book, The Fury Archives argues that the relationship of women’s rights movements and the avant-gardes offers a radical alternative to liberal discourses of human rights in formation at the same historical moment.