From the author of the acclaimed Against Love comes a pointed, audacious, and witty examination of the state of the female psyche in the post-post-feminist world of the twenty-first century. Women remain caught between feminism and femininity, between self-affirmation and an endless quest for self-improvement, between playing an injured party and claiming independence. Rather than blaming the usual suspects—men, the media—Kipnis takes a hard look at culprits closer to home, namely women themselves. Kipnis serves up the gory details of the mutual displeasure between men and women in painfully hilarious detail. Is anatomy destiny after all? An ambitious and original reassessment of feminism and women’s ambivalence about it, The Female Thing breathes provocative new life into that age-old question.

With ?the gleeful, viperish wit of Dorothy Parker? (Slate), Kipnis offers a fresh and provocative assessment of the female condition in the post-post-feminist world of the twenty-first century. For every advance towards sexual equality on the part of women in recent years, she argues, some new impediment just ?seems? to appear. Ironically, feminism has run up against an unanticipated opponent: the inner woman. The Female Thing brims with bracing, funny social observations informed by psychological acuity. For all the upbeat ?You go, girl? slogans, women remain caught between feminism and femininity, between self-affirmation and an endless quest for self-improvement, between playing the injured party and claiming independence. As audacious as it is historically and socially grounded, The Female Thing explores age-old quandaries: the war between the sexes, what women ?really? want, and to what extent anatomy is destiny after all.

Taking the literary world by storm, Eimear McBride’s internationally praised debut is one of the most acclaimed novels in recent years; it is “subversive, passionate, and darkly alchemical. Read it and be changed” (Eleanor Catton). Eimear McBride’s debut tells, with astonishing insight and in riveting detail, the story of a young woman’s relationship with her brother, the long shadow cast by his childhood brain tumour, and her harrowing sexual awakening. Not so much a stream-of-consciousness, as an unconscious railing against a life that makes little sense, and a shocking and intimate insight into the thoughts, feelings and chaotic sexuality of a vulnerable and isolated protagonist, A Girl Is a Half-formed Thing plunges inside its narrator’s head, exposing her world firsthand. This isn’t always comfortable—but it is always a revelation. Touching on everything from family violence to religion to addiction, and the personal struggle to remain intact in times of intense trauma, McBride writes with singular intensity, acute sensitivity, and mordant wit. A Girl Is a Half-formed Thing is moving, funny, and alarming. It is a book you will never forget.

The National Book Critics Circle Award–winning author delivers a collection of essays that serve as the perfect “antidote to mansplaining” (The Stranger). In her comic, scathing essay “Men Explain Things to Me,” Rebecca Solnit took on what often goes wrong in conversations between men and women. She wrote about men who wrongly assume they know things and wrongly assume women don’t, about why this arises, and how this aspect of the gender wars works, airing some of her own hilariously awful encounters. She ends on a serious note— because the ultimate problem is the silencing of women who have something to say, including those saying things like, “He’s trying to kill me!” This book features that now-classic essay with six perfect complements, including an examination of the great feminist writer Virginia Woolf’s embrace of mystery, of not knowing, of doubt and ambiguity, a highly original inquiry into marriage equality, and a terrifying survey of the scope of contemporary violence against women. “In this series of personal but unsentimental essays, Solnit gives succinct shorthand to a familiar female experience that before had gone unarticulated, perhaps even unrecognized.” —The New York Times “Essential feminist reading.” —The New Republic “This slim book hums with power and wit.” —Boston Globe “Solnit tackles big themes of gender and power in these accessible essays. Honest and full of wit, this is an integral read that furthers the conversation on feminism and contemporary society.” —San Francisco Chronicle “Essential.” —Marketplace “Feminist, frequently funny, unflinchingly honest and often scathing in its conclusions.” —Salon

A polemic against love that is “engagingly acerbic ... extremely funny.... A deft indictment of the marital ideal, as well as a celebration of the dissent that constitutes adultery, delivered in pointed daggers of prose” (The New Yorker). Who would dream of being against love? No one. Love is, as everyone knows, a mysterious and all-controlling force, with vast power over our thoughts and life decisions. But is there something a bit worrisome about all this uniformity of opinion? Is this the one subject about which no disagreement will be entertained, about which one truth alone is permissible? Consider that the most powerful organized religions produce the occasional heretic; every ideology has its apostates; even sacred cows find their butchers. Except for love. Hence the necessity for a polemic against it. A polemic is designed to be the prose equivalent of a small explosive device placed under your E-Z-Boy lounger. It won’t injure you (well not severely); it’s just supposed to shake things up and rattle a few convictions.

“If you love a good enemies-to-lovers trope, run—don’t walk—to the nearest bookstore or library near you.” —BuzzFeed "I couldn’t put it down!” —New York Times bestselling author Simone Elkeles When Tyson Trice finds himself tossed into the wealthy community of Pacific Hills, he expects not to belong. Not that he cares. After recovering from being shot and surviving the rough streets of Lindenwood, he doesn’t care about anyone or anything. Golden girl Nandy Smith has spent most of her life building the pristine image it takes to make it in Pacific Hills. After learning that her parents are taking in a troubled teen boy, Nandy fears her summer plans and her reputation will go up in flames. The wall between their bedrooms feels as thin as the line between love and hate. But their growing attraction won't be denied. Soon Trice is bringing Nandy out of her shell and Nandy's trying to melt the ice around Trice's heart. But with the ever-present pull back to Lindenwood, it’ll be a wonder if Trice makes it through this summer at all. Also by Whitney D. Grandison: The Right Side of Reckless

In the time of the #MeToo and #TimesUp movement, international bestselling author and leading global expert on mental strength Amy Morin turns her focus to feminism, explaining what it means—and what it takes—to be a mentally strong woman. The emergence of the #MeToo and #TimesUp movements have awakened society and encouraged women to find their voice and claim their power. But to do this, women must learn to improve their own mental strength. Contending with a host of difficult issues—from sexual assault on college campuses, to equal pay and pay gaps, to mastering different negotiation styles—demands psychological toughness. In this crucial book, prominent psychotherapist and licensed clinical social worker Amy Morin gives women the techniques to build mental muscle—and just as important, she teaches them what not to do. What does it mean to be a mentally strong woman? Delving into critical issues like sexism, social media, social comparison, and social pressure, Amy addresses this question and offers thoughtful, intelligent advice, practical tips, and specific strategies and combines them with personal experiences, stories from former patients, and both well-known and untold examples from women from across industries and pop culture. Throughout, she explores the areas women—and society at large—must focus on to become (and remain) mentally strong. Amy reveals that healthy, mentally tough women don’t insist on perfection; they don’t compare themselves to other people; they don’t see vulnerability as a weakness; they don’t let self-doubt stop them from reaching their goals. Wise, grounded, and essential, 13 Things Mentally Strong Women Don’t Do can help every woman flourish—and ultimately improve our society as well.

Where does art start or reality end? Happily loitering about London, c. 1949, with the intent of gathering material for her writing, Fleur Talbot finds a job “on the grubby edge of the literary world” at the very peculiar Autobiographical Association. Mad egomaniacs writing their memoirs in advance — or poor fools ensnared by a blackmailer? When the association’s pompous director steals Fleur’s manuscript, fiction begins to appropriate life.

Jena Chung plays the violin. She was once a child prodigy and is now addicted to sex. She's struggling a little. Her professional life comprises rehearsals, concerts, auditions and relentless practice; her personal life is spent managing family demands, those of her creative friends, and lots of sex. Jena is selfish, impulsive and often behaves badly, though mostly only to her own detriment. And then she meets Mark - much older and worldly-wise - who bewitches her. Could this be love? When Jena wins an internship with the New York Philharmonic, she thinks the life she has dreamed of is about to begin. But when Trump is elected New York changes irrevocably, and Jena along with it. Is the dream over? With echoes of Frances Ha, Jena's favourite film, truths are gradually revealed to her. Jena comes to learn that there are many different ways to live and love and that no one has the how-to guide for any of it - not even her indomitable mother. A Lonely Girl is a Dangerous Thing unflinchingly explores the confusion of having expectations upturned, and the awkwardness and pain of being human in our increasingly dislocated world - and how, in spite of all this, we still try to become the person we want to be. It is a dazzling, original and astounding debut from a young writer with a fierce, intelligent and fearless new voice.

In this passionate report from the front lines, a "New York" magazine writer examines the enormous cultural impact of the newest wave of post-feminism.