The eleven contributors to The Girl's Own explore British and American Victorian representations of the adolescent girl by drawing on such contemporary sources as conduct books, housekeeping manuals, periodicals, biographies, photographs, paintings, and educational treatises. The institutions, practices, and literatures discussed reveal the ways in which the Girl expressed her independence, as well as the ways in which she was presented and controlled. As the contributors note, nineteenth-century visions of girlhood were extremely ambiguous. The adolescent girl was a fascinating and troubling figure to Victorian commentators, especially in debates surrounding female sexuality and behavior. The Girl's Own combines literary and cultural history in its discussion of both British and American texts and practices. Among the topics addressed are the nineteenth-century attempt to link morality and diet; the making of heroines in biographies for girls; Lewis Carroll's and John Millais's iconographies of girlhood in, respectively, their photographs and paintings; genre fiction for and by girls; and the effort to reincorporate teenage unwed mothers into the domestic life of Victorian America.

Nineteenth-century British periodicals for girls and women offer a wealth of material to understand how girls and women fit into their social and cultural worlds, of which music making was an important part. The Girl's Own Paper, first published in 1880, stands out because of its rich musical content. Keeping practical usefulness as a research tool and as a guide to further reading in mind, Judith Barger has catalogued the musical content found in the weekly and later monthly issues during the magazine's first thirty years, in music scores, instalments of serialized fiction about musicians, music-related nonfiction, poetry with a musical title or theme, illustrations depicting music making and replies to musical correspondents. The book's introductory chapter reveals how content in The Girl's Own Paper changed over time to reflect a shift in women's music making from a female accomplishment to an increasingly professional role within the discipline, using 'the piano girl' as a case study. A comparison with musical content found in The Boy's Own Paper over the same time span offers additional insight into musical content chosen for the girls' magazine. A user's guide precedes the chronological annotated catalogue; the indexes that follow reveal the magazine's diversity of approach to the subject of music.

A colorful chronicle of the All-American Girls Professional Baseball League, as recalled by the very women and men who were a part of it. From Philip K. Wrigley, the chewing-gum mogul who had the idea for the league, to "Gabby" Ziegler, captain of the Grand Rapids Chicks, Girls of the Summer is about dreams and about making those dreams come true.

The Girl’s Own Paper, founded in 1880, both shaped and reflected tensions between traditional domestic ideologies of the period and New Woman values in the context of the figure of the New Girl. These selections from the journal demonstrate the efforts of its publisher (the Religious Tract Society) to combat the negative moral influence of sensational popular literature while at the same time addressing the desires of its audience for exciting reading material and information about topics mothers could not or would not discuss. Selected fiction gives a rich sense of the conventions and the domestic ideology of the time; the nonfiction prose ranges from essays on conduct and household management to articles on new opportunities in education and work.

"Strong Black Girls lays bare the harm Black women and girls are expected to overcome in order to receive an education in America. It captures the routinely muffled voices and experiences of these students through storytelling, essays, letters, and poetry. The authors make clear that the strength of Black women and girls should not merely be defined as the ability to survive racism, abuse, and violence. Readers will also see resistance and resilience emerge through the central themes that shape these reflective, coming-of-age narratives. Each chapter is punctuated by discussion questions that extend the conversation around the everyday realities of navigating K-12 schools, such as sexuality, intergenerational influence, self-love, anger, leadership, aesthetic trauma (hair and body image), erasure, rejection, and unfiltered Black girlhood. Strong Black Girls is essential reading for everyone tasked with teaching, mentoring, programming, and policymaking for Black females in all public institutions. Book Features: ]A spotlight on the invisible barriers impacting Black girls' educational trajectories. ]A survey of the intersectional notions of strength and Black femininity within the context of K-12 schooling. ]Narrative therapy through unpacking system stories of oppression and triumph. ]Insights for building skills and tools to make substantial and lasting change in schools"--

A delightful dip into the pages of the popular magazine for girls that originally aimed to help to train them in moral and domestic virtues.

Growing up, Pat Brown had two dreams: to play baseball and to attend college. She was told she couldn't play baseball because she was a girl and couldn't attend college because she had no money, but in spite of the obstacles, she achieved both of these dreams, playing for the All-American Girls Professional Baseball League in 1950 and 1951 and going on to attend college. She is among the few women professional baseball players to be included into the National Baseball Hall of Fame. "As the only former AAGPBL player to have written about the League," Brown says, "I feel like I have finally pitched my no hit game." This is a memoir of playing baseball on the sandlot, discovering and playing in the AAGPBL, and playing basketball in college. Brown shares her thoughts on the League's history, including what Philip K. Wrigley sought to do by creating the AAGPBL, what happened after Wrigley left to give more attention to the Chicago Cubs, and why the League ended. She also considers the future for women's professional baseball. Interviews with such former AAGPBL players as Helen Hannah Campbell, Patricia "Pat" Courtney, Madeline "Maddy" English, Lenora "Smokey" Mandella, Jacqueline "Jackie" Matson, Jane Moffet, Mary "Sis" Moore, and Janet "Pee Wee" Wiley are included.

THE INSTANT BESTSELLER • An indelible portrait of girls, the women they become, and that moment in life when everything can go horribly wrong ONE OF THE BEST BOOKS OF THE YEAR: The Washington Post, NPR, The Guardian, Entertainment Weekly, San Francisco Chronicle, Financial Times, Esquire, Newsweek, Vogue, Glamour, People, The Huffington Post, Elle, Harper’s Bazaar, Time Out, BookPage, Publishers Weekly, Slate Northern California, during the violent end of the 1960s. At the start of summer, a lonely and thoughtful teenager, Evie Boyd, sees a group of girls in the park, and is immediately caught by their freedom, their careless dress, their dangerous aura of abandon. Soon, Evie is in thrall to Suzanne, a mesmerizing older girl, and is drawn into the circle of a soon-to-be infamous cult and the man who is its charismatic leader. Hidden in the hills, their sprawling ranch is eerie and run down, but to Evie, it is exotic, thrilling, charged—a place where she feels desperate to be accepted. As she spends more time away from her mother and the rhythms of her daily life, and as her obsession with Suzanne intensifies, Evie does not realize she is coming closer and closer to unthinkable violence. Finalist for the Los Angeles Times Book Prize • Finalist for the National Book Critics Circle John Leonard Award • Shortlisted for The Center for Fiction First Novel Prize • The New York Times Book Review Editors’ Choice • Emma Cline—One of Granta’s Best of Young American Novelists Praise for The Girls “Spellbinding . . . a seductive and arresting coming-of-age story.”—The New York Times Book Review “Extraordinary . . . Debut novels like this are rare, indeed.”—The Washington Post “Hypnotic.”—The Wall Street Journal “Gorgeous.”—Los Angeles Times “Savage.”—The Guardian “Astonishing.”—The Boston Globe “Superbly written.”—James Wood, The New Yorker “Intensely consuming.”—Richard Ford “A spectacular achievement.”—Lucy Atkins, The Times “Thrilling.”—Jennifer Egan “Compelling and startling.”—The Economist

Girls Garage is the only book you'll ever need for a lifetime of tools and building. Not sure which screws to buy? Need to fix a running toilet? With Girls Garage, you'll have the expertise to tackle these problems with your own hands. Or maybe you want to get creative and build something totally new. A birdhouse? A bookshelf? Girls Garage has you covered. Packed with illustrations that will build confidence for your next hardware store run, practical advice on everything from quick fixes to safety tips, and inspiring stories from real-world builder girls and women, this eye-catching volume makes the technical accessible. This is the guide every girl needs to take her life into her own hands. Girls, get in touch with your inner badass, and get building • Informative, inspiring, and designed for everyday use, this is the ultimate book of book of building and woodcraft for girls. • A true confidence builder for girls interested in STEM, woodworking, and home improvement. • Along with her design agency and Girl's Garage, Emily Pilloton has been featured on television shows and the documentary film If You Build It. Girls Garage will be both a trusted household resource and a wellspring of inspiration and encouragement in the vein of Women in Science and Headstrong: 52 Women Who Changed Science and the World. • Nonfiction books for girls age 14 and up • Woodcraft, home repair, kids building projects • Inspiring Kids DIY for teens Emily Pilloton is a designer, builder, educator, and founder of the nonprofit design agency Project H Design and Girls Garage. Her ideas have made their way to the TED stage, the Colbert Report, and the full-length documentary If You Build It. She is currently a lecturer in the College of Environmental Design at the University of California, Berkeley. She lives in the San Francisco Bay Area.