This “incredible addition to the feminist canon” brings together the most inspiring, creative, and courageous voices concerning modern women’s issues (Jessica Valenti, editor of Yes Means Yes). In this groundbreaking collection, more than fifty cutting-edge feminist writers—including Melissa Harris-Perry, Janet Mock, Sheila Heti, and Mia McKenzie—invite us to imagine a world of freedom and equality in which: An abortion provider reinvents birth control . . . The economy values domestic work . . . A teenage rock band dreams up a new way to make music . . . The Constitution is re-written with women’s rights at the fore . . . The standard for good sex is raised with a woman’s pleasure in mind . . . The Feminist Utopia Project challenges the status quo that accepts inequality and violence as a given, “offering playful, earnest, challenging, and hopeful versions of our collective future in the form of creative nonfiction, fiction, visual art, poetry, and more” (Library Journal).

Essays on hip-hop feminism featuring relevant, real conversations about how race and gender politics intersect with pop culture and current events. For the Crunk Feminist Collective, their academic day jobs were lacking in conversations they actually wanted. To address this void, they started a blog that turned into a widespread movement. The Collective’s writings foster dialogue about activist methods, intersectionality, and sisterhood. And the writers’ personal identities—as black women; as sisters, daughters, and lovers; and as television watchers, sports fans, and music lovers—are never far from the discussion at hand. These essays explore “Sex and Power in the Black Church,” discuss how “Clair Huxtable is Dead,” list “Five Ways Talib Kweli Can Become a Better Ally to Women in Hip Hop,” and dwell on “Dating with a Doctorate (She Got a Big Ego?).” Self-described as “critical homegirls,” the authors tackle life stuck between loving hip hop and ratchet culture while hating patriarchy, misogyny, and sexism. “Refreshing and timely.” —Bitch Magazine “Our favorite sister bloggers.” —Elle “By centering a Black Feminist lens, The Collection provides readers with a more nuanced perspective on everything from gender to race to sexuality to class to movement-building, packaged neatly in easy-to-read pieces that take on weighty and thorny ideas willingly and enthusiastically in pursuit of a more just world.” —Autostraddle “Much like a good mix-tape, the book has an intro, outro, and different layers of based sound in the activist, scholar, feminist, women of color, media representation, sisterhood, trans, queer and questioning landscape.” —Lambda Literary Review

Combining feminist theories, X-Files fandom, and memoir, Enjoy Me among My Ruins draws together a kaleidoscopic archive of Juniper Fitzgerald’s experiences as a queer sex-working mother. Plumbing the major events that shaped her life, and interspersing her childhood letters written to cult icon Gillian Anderson, this experimental manifesto contends with dominant narratives placed upon marginalized people, ultimately rejecting a capitalist system that demands our purity and submission over our survival.

The best way to learn history is to visualize it! Since 1998, Josh MacPhee has commissioned and produced over one hundred posters by over eighty artists that pay tribute to revolution, racial justice, women's rights, queer liberation, labor struggles, and creative activism and organizing. Celebrate People's History! presents these essential moments—acts of resistance and great events in an often hidden history of human and civil rights struggles—as a visual tour through decades and across continents, from the perspective of some of the most interesting and socially engaged artists working today. Celebrate People's History includes artwork by Cristy Road, Swoon, Nicole Schulman, Christopher Cardinale, Sabrina Jones, Eric Drooker, Klutch, Carrie Moyer, Laura Whitehorn, Dan Berger, Ricardo Levins Morales, Chris Stain, and more.

The Feminist Porn Book celebrates the power of desire, turning the spotlight on an industry where feminism is thriving.

Covering a range of texts from prominent feminist writers, this book examines notions of utopia in twenty-first-century speculative literature.

These vivid oral histories of the lives of three remarkable political activists document a century of social change movements. Florence Luscomb campaigned for suffrage early in the century. Ella Baker was a civil rights organiser for over 50 years. Jessie Lopez De La Cruz, a lifelong farm worker, was the first woman to organise in the fields for the United Farm workers.

MY LITTLE RED BOOK is an anthology of stories about first periods, collected from women of all ages from around the world. The accounts range from light-hearted (the editor got hers while water skiing in a yellow bathing suit) to heart-stopping (a first period discovered just as one girl was about to be strip-searched by the Nazis). The contributors include well-known women writers (Meg Cabot, Erica Jong, Gloria Steinem, Cecily von Ziegesar), alongside today's teens. And while the authors differ in race, faith, or cultural background, their stories share a common bond: they are all accessible, deeply honest, and highly informative. Whatever a girl experiences or expects, she'll find stories that speak to her thoughts and feelings. Ultimately, MY LITTLE READ BOOK is more than a collection of stories. It is a call for a change in attitude, for a new way of seeing periods. In a time when the taboo around menstruation seems to be one of the few left standing, it makes a difficult subject easier to talk about, and helps girls feel proud instead of embarrassed or ashamed. By revealing what it feels like to undergo this experience first hand, and giving women the chance to explain their feelings in their own words, it aims to provide support, entertainment, and a starting point for discussion for mothers and daughters everywhere. It is a book every girl should have. Period.

The utopias envisioned by Edward Bellamy and other novelists late in the nineteenth century were generally blueprints of government. As satellites of men, women were expected to share in the general improvement of society. The resurgence of the feminist movement since the late 1960s has produced a very different kind of utopian literature. Frances Bartkowski explores a body of work that is striking and vital because it reflects the hopes, fears, and desires of women who have glimpsed the possibilities of a bright new world freed from stifling patriarchal structures. Feminist Utopias is a comparative study of the utopian fiction of nine women writers in the United States, France, and Canada. Except for Charlotte Perkins Gilman's Herland (1915), the prototype for feminist literary utopias, all of the works were published between 1969 and 1986. Bartkowski discusses Monique Wittig's Les Guérillères, Joanna Russ's The Female Man, Marge Piercy's Woman on the Edge of Time, Suzy McKee Charnas's Motherlines, Christine Rochefort's Archaos, ou le jardin étincelant, E. M. Broner's A Weave of Women, Louky Bersianik's The Eugelionne, and two dystopian novels, Charnas's Walk to the End of the World and Margaret Atwood's The Handmaid’s Tale.

“A sharp and compelling memoir” of a feminist icon who forged positive change for herself, for women everywhere, and for the world (Rosemary G. Feal, executive director of the Modern Language Association). Florence Howe has led an audacious life: she created a freedom school during the civil rights movement, refused to bow to academic heavyweights who were opposed to sharing power with women, established women’s studies programs across the country during the early years of the second wave of the feminist movement, and founded a feminist publishing house at a time when books for and about women were a rarity. Sustained by her relationships with iconic writers like Grace Paley, Tillie Olsen, and Marilyn French, Howe traveled the world as an emissary for women’s empowerment, never ceasing in her personal struggle for parity and absolute freedom for all women. Howe’s “long-awaited memoir” spans her ninety years of personal struggle and professional triumphs in “a tale told with startling honesty by one of the founding figures of the US feminist movement, giving us the treasures of a history that might otherwise have been lost” (Meena Alexander, author of Fault Lines).