Feminism Backwards is part memoir, part documentary. A founding member of the Irish Women's Liberation Movement Rosita Sweetman gleefully recalls the triumphs – and the tribulations – of trying to drag a reluctant Ireland into the 20th Century, crucially, re-appraising Chains or Change the IWLM's famous pamphlet, detailing what life was like for women in 1970s Ireland - appalling. Feminism Backwards is also a howl of despair at how women have been treated worldwide down through the centuries, and how misogyny and sexual repression got such a stranglehold on Ireland. Having a survived a marriage break up Rosita re-found her feminism sadly buried, along with her chutzpah. She passionately believes feminism is not about blaming men, or pushing a few women to the top so they can be 'she-men' for the patriarchy. It's about creating a world fit for everyone.

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.

It is more than fifty years since Betty Friedan diagnosed malaise among suburban housewives and the National Organization of Women was founded. Across the decades, the feminist movement brought about significant progress on workplace discrimination, reproductive rights, and sexual assault. Yet, the proverbial million-dollar question remains: why is there still so much to be done? With this book, Lynn S. Chancer takes stock of the American feminist movement and engages with a new burst of feminist activism. She articulates four common causes—advancing political and economic equality, allowing intimate and sexual freedom, ending violence against women, and expanding the cultural representation of women—considering each in turn to assess what has been gained (or not). It is around these shared concerns, Chancer argues, that we can continue to build a vibrant and expansive feminist movement. After the Rise and Stall of American Feminism takes the long view of the successes and shortcomings of feminism(s). Chancer articulates a broad agenda developed through advancing intersectional concerns about class, race, and sexuality. She advocates ways to reduce the divisiveness that too frequently emphasizes points of disagreement over shared aims. And she offers a vision of individual and social life that does not separate the "personal" from the "political." Ultimately, this book is about not only redressing problems, but also reasserting a future for feminism and its enduring ability to change the world.

The new feminism, according to Walter, deals specifically with the experiences and desires of women below 35, those who take their new advantages and continuing disadvantages for granted. She appeals to such women not to lose their new advantages.

This multivoiced collection of essays and images presents a "relational" feminism of diverse communities, affiliations, and practices.

The world is a fraught place for the contemporary female. Working mothers are still expected to make their children's costumes for the school play, despite the fact that home economics was abolished in the Seventies; we're told it's not looks but brains that count, and yet if we dare to leave the house looking vaguely our age we're made to feel like failures; women's magazines run earnest articles about the evils of size 00 culture, only to feature models with hips like 10-year-old boys a few pages later; we pay the same level of taxation as men, and yet on average we earn 25% less. So, this book - a book for women who never got around to perfecting the art of domestic divinity but would quite like to be able to cook supper for six without having a nervous breakdown; who never quite mastered Cosmo's 101 ways to please your man, but don't want the embarrassment, not to say inconvenience, of him running off with a 19-year-old Russian supermodel.

"Updated and with a new preface by the authors."--Cover.

Reviewers of this book have praised Christina Hoff Sommer's well-reasoned argument against many feminists' reliance on misleading, politically motivated 'facts' about how women are victimised.