Helen Gurley Brown adds dazzle to dull office days in her follow-up to the phenomenal bestseller Sex and the Single Girl The classic book from 1965 tells what it was really like to be the girl in a Mad Men–style workplace. Sex and the Office became the definitive, comprehensive guide to working life for an entire generation of women. Alongside advice about how to deal with your boss, manage office politics, and make the most of personal and professional opportunities in the office, Helen Gurley Brown also shares stories from her own office days. A classic of its time, this stands as a frank look at how to get ahead, not just through working hard but through playing hard, too.

What did sex mean for ordinary people before the sexual revolution of the 1960s and 1970s, who were often pitied by later generations as repressed, unfulfilled and full of moral anxiety? This book provides the first rounded, first-hand account of sexuality in marriage in the early and mid-twentieth century. These award-winning authors look beyond conventions of silence among the respectable majority to challenge stereotypes of ignorance and inhibition. Based on vivid, compelling and frank testimonies from a socially and geographically diverse range of individuals, the book explores a spectrum of sexual experiences, from learning about sex and sexual practices in courtship, to attitudes to the body, marital ideals and birth control. It demonstrates that while the era's emphasis on silence and strict moral codes could for some be a source of inhibition and dissatisfaction, for many the culture of privacy and innocence was central to fulfilling and pleasurable intimate lives.

Secular and religious thinkers agree: the sexual revolution is one of the most important milestones in human history. Perhaps nothing has changed life for so many, so fast, as the severing of sex and procreation. But what has been the result? This ground-breaking book by noted essayist and author Mary Eberstadt contends that sexual freedom has paradoxically produced widespread discontent. Drawing on sociologists Pitirim Sorokin, Carle Zimmerman, and others; philosopher G.E.M. Anscombe and novelist Tom Wolfe; and a host of feminists, food writers, musicians, and other voices from across today's popular culture, Eberstadt makes her contrarian case with an impressive array of evidence. Her chapters range across academic disciplines and include supporting evidence from contemporary literature and music, women's studies, college memoirs, dietary guides, advertisements, television shows, and films. Adam and Eve after the Pill examines as no book has before the seismic social changes caused by the sexual revolution. In examining human behavior in the post-liberation world, Eberstadt provocatively asks: Is food the new sex? Is pornography the new tobacco? Adam and Eve after the Pill will change the way readers view the paradoxical impact of the sexual revolution on ideas, morals, and humanity itself.

Stranger in Baja takes the reader to sun-struck and tawdry Cabo San Lucas, the overdeveloped resort outpost on Mexico's bone-dry southern Baja peninsula and the setting for a street war between evangelical foreigners and local Catholics. Troubled by doubts and demons, naive missionary volunteer Rob Hudson arrives in Cabo on a soul-seeking mission and finds a world of inept arsonists, wily healers, prying journalists, Machiavellian bosses, troubled hermits, hip-hop bands, lunar rituals, drug gangs and a music teacher who rocks his soul.

In the 1960s, the fascination with erotic art generated a wave of exhibitions and critical discussion on sexual freedom, visual pleasure, and the nude in contemporary art. Radical Eroticism examines the importance of women’s contributions in fundamentally reconfiguring representations of sexuality across several areas of advanced art—performance, pop, postminimalism, and beyond. This study shows that erotic art made by women was integral to the profound changes that took place in American art during the sixties, from the crumbling of modernist aesthetics and the expanding field of art practice to the emergence of the feminist art movement. Artists Carolee Schneemann, Martha Edelheit, Marjorie Strider, Hannah Wilke, and Anita Steckel created works that exemplify these innovative approaches to the erotic, exploring female sexual subjectivities and destabilizing assumptions about gender. Rachel Middleman reveals these artists’ radical interventions in both aesthetic conventions and social norms.

Many books have been written on the Sixties: tributes to music and fashion, sex, drugs and revolution. In The Sixties, Jenny Diski breaks the mould, wryly dismantling the big ideas that dominated the era - liberation, permissiveness and self-invention - to consider what she and her generation were really up to. Was it rude to refuse to have sex with someone? Did they take drugs to get by, or to see the world differently? How responsible were they for the self-interest and greed of the Eighties? With characteristic wit and verve, Diski takes an incisive look at the radical beliefs to which her generation subscribed, little realising they were often old ideas dressed up in new forms, sometimes patterned by BIBA. She considers whether she and her peers were as serious as they thought about changing the world, if the radical sixties were funded by the baby-boomers' parents, and if the big idea shaping the Sixties was that it really felt as if it meant something to be young.

Honorable Mention, Association for Middle East Women’s Studies Honorable Mention, 2018 Arab American Book Awards (Non-Fiction) In contemporary France, particularly in the banlieues of Paris, the figure of the young, virile, hypermasculine Muslim looms large. So large, in fact, it often supersedes liberal secular society’s understanding of gender and sexuality altogether. Engaging the nexus of race, gender, nation, and sexuality, Sexagon studies the broad politicization of Franco-Arab identity in the context of French culture and its assumptions about appropriate modes of sexual and gender expression, both gay and straight. Surveying representations of young Muslim men and women in literature, film, popular journalism, television, and erotica as well as in psychoanalysis, ethnography, and gay and lesbian activist rhetoric, Mehammed Amadeus Mack reveals the myriad ways in which communities of immigrant origin are continually and consistently scapegoated as already and always outside the boundary of French citizenship regardless of where the individuals within these communities were born. At the same time, through deft readings of—among other things—fashion photography and online hook-up sites, Mack shows how Franco-Arab youth culture is commodified and fetishized to the point of sexual fantasy. Official French culture, as Mack suggests, has judged the integration of Muslim immigrants from North and West Africa—as well as their French descendants—according to their presumed attitudes about gender and sexuality. More precisely, Mack argues, the frustrations consistently expressed by the French establishment in the face of the alleged Muslim refusal to assimilate is not only symptomatic of anxieties regarding changes to a “familiar” France but also indicative of an unacknowledged preoccupation with what Mack identifies as the “virility cultures” of Franco-Arabs, rendering Muslim youth as both sexualized objects and unruly subjects. The perceived volatility of this banlieue virility serves to animate French characterizations of the “difficult” black, Arab, and Muslim boy—and girl—across a variety of sensational newscasts and entertainment media, which are crucially inflamed by the clandestine nature of the banlieues themselves and non-European expressions of virility. Mirroring the secret and underground qualities of “illegal” immigration, Mack shows, Franco-Arab youth increasingly choose to withdraw from official scrutiny of the French Republic and to thwart its desires for universalism and transparency. For their impenetrability, these sealed-off domains of banlieue virility are deemed all the more threatening to the surveillance of mainstream French society and the state apparatus.

Since the show's debut in 2007, Mad Men has invited viewers to immerse themselves in the lush period settings, ruthless Madison Avenue advertising culture, and arresting characters at the center of its 1960s fictional world. Mad Men, Mad World is a comprehensive analysis of this groundbreaking TV series. Scholars from across the humanities consider the AMC drama from a fascinating array of perspectives, including fashion, history, architecture, civil rights, feminism, consumerism, art, cinema, and the serial format, as well as through theoretical frames such as critical race theory, gender, queer theory, global studies, and psychoanalysis. In the introduction, the editors explore the show's popularity; its controversial representations of race, class, and gender; its powerful influence on aesthetics and style; and its unique use of period historicism and advertising as a way of speaking to our neoliberal moment. Mad Men, Mad World also includes an interview with Phil Abraham, an award-winning Mad Men director and cinematographer. Taken together, the essays demonstrate that understanding Mad Men means engaging the show not only as a reflection of the 1960s but also as a commentary on the present day. Contributors. Michael Bérubé, Alexander Doty, Lauren M. E. Goodlad, Jim Hansen, Dianne Harris, Lynne Joyrich, Lilya Kaganovsky, Clarence Lang, Caroline Levine, Kent Ono, Dana Polan, Leslie Reagan, Mabel Rosenheck, Robert A. Rushing, Irene Small, Michael Szalay, Jeremy Varon

In this innovative and revealing study of midcentury American sex and culture, Amanda Littauer traces the origins of the "sexual revolution" of the 1960s. She argues that sexual liberation was much more than a reaction to 1950s repression because it largely involved the mainstreaming of a counterculture already on the rise among girls and young women decades earlier. From World War II–era "victory girls" to teen lesbians in the 1940s and 1950s, these nonconforming women and girls navigated and resisted intense social and interpersonal pressures to fit existing mores, using the upheavals of the era to pursue new sexual freedoms. Building on a new generation of research on postwar society, Littauer tells the history of diverse young women who stood at the center of major cultural change and helped transform a society bound by conservative sexual morality into one more open to individualism, plurality, and pleasure in modern sexual life.