Caustic, brilliant, uncompromising, accomplished, Lillian Hellman, one writer noted, can "take the tops off bottles with her teeth". Her career as a playwright began in 1938 with The Children's Hour, the first of seven plays that would bring her international attention and praise. Thirty years later, Hellman unleashed her peerless wit and candor on the subject she knew best: herself. An Unfinished Woman is a rich, surprising, emotionally charged portrait of a bygone world -- and of an independent-minded woman coming into her own. Wendy Wasserstein's introduction to this new edition provides a fascinating literary and historical context for reexamining Lillian Hellman's life and achievement.

When Kristin Armstrong was in the pit of her divorce, she eagerly read every spiritual book and devotional she could get her hands on out of a hunger to connect with someone who knew exactly what she was going through and how she felt. Now, at a time when society offers so many conflicting messages about what it means to be a woman, Kristin invites readers to discover grace as a way of life. Using real-life anecdotes, biblical wisdom, and insight born of hard experience, Kristin teaches women the twelve traits of grace, inviting reflection and interaction. Warm, engaging, and practical, WORK IN PROGRESS examines what God has to say about being His kind of woman in the twenty-first century.

Reframing feminism for the twenty-first century, this bold and essential history stands up against "bland corporate manifestos" (Sarah Leonard). Eschewing the conventional wisdom that places the origins of the American women’s movement in the nostalgic glow of the late 1960s, Feminism Unfinished traces the beginnings of this seminal American social movement to the 1920s, in the process creating an expanded, historical narrative that dramatically rewrites a century of American women’s history. Also challenging the contemporary “lean-in,” trickle-down feminist philosophy and asserting that women’s histories all too often depoliticize politics, labor issues, and divergent economic circumstances, Dorothy Sue Cobble, Linda Gordon, and Astrid Henry demonstrate that the post-Suffrage women’s movement focused on exploitation of women in the workplace as well as on inherent sexual rights. The authors carefully revise our “wave” vision of feminism, which previously suggested that there were clear breaks and sharp divisions within these media-driven “waves.” Showing how history books have obscured the notable activism by working-class and minority women in the past, Feminism Unfinished provides a much-needed corrective.

“It’s a time of change in the world, with dictators toppling and new opportunities rising, but any revolution that doesn’t create equality for women will be incomplete. The time has come to realize the full potential of half the world’s population.” —Christiane Amanpour, from the foreword The Unfinished Revolution tells the story of the global struggle to secure basic rights for women and girls, including in the Middle East where the Arab Spring raised high hopes, but the political revolutions are so far insufficient to guarantee progress. Around the world, women and girls are trafficked into forced labor and sex slavery, trapped in conflict zones where rape is a weapon of war, prevented from attending school, and kept from making deeply personal choices in their private lives, such as whom and when to marry. In many countries, women are second-class citizens by law. In others, religion and traditions block freedoms such as the right to work, study or access health care. Even in the United States, women who are victims of sexual violence often do not see their attackers brought to justice. More than 30 writers—Nobel Prize laureates, leading activists, top policymakers, and former victims—have contributed to this anthology. Drawing from their rich personal experiences, they tackle some of the toughest questions and offer bold new approaches to problems affecting hundreds of millions of women. This volume is indispensable reading, providing thoughtful analysis from a never-before assembled group of advocates. It shows that the fight for women’s equality is far from over. As Leymah Gbowee, 2011 Nobel Peace Prize Laureate says, “Women are not free anywhere in this world until all women in the world are free.”

This revised edition of Maj. Gen Jeanne Holm's classic work on the history and role of women in the U.S. armed forces brings the reader up-to-date by covering the role of American military women in all post-Vietnam military operations -- including the recent Persian Gulf War. Just as important is her discussion of the changing role of women in the military during the 1980s and 1990s. Book jacket.

UNFINISHED WOMEN deals with the events in a home for unwed mothers on the last day of jazz musician Charlie Parker's life, March 12, 1955. The play digs beyond statistics and sociological theories to find the unarticulated, half-understood longings of teenage mothers. "UNFINISHED WOMEN is an underground classic. It reaches beyond statistics and sociological theories to find the unarticulated, half-understood longings of teen-age mothers ... The title implies the central conceit of the play: the juxtaposition of the Hide-A-Wee Home for Unwed Mothers (the unfinished women) and Pasha's boudoir, where Charlie Parker (the 'Bird'), the brilliant black saxophonist of years past, spent his last days. Many types of girls find themselves in this home: the child of middle-class upbringing who got 'caught'; the innocent who was raped; the savvy, street-smart girl who let the music make love to her, as well as the strict nurse who turned her illegitimate child into a 'niece.' Charlie Chan, that stereotype of Oriental inscrutability, presides over all, a comment on the power of images in our society. The play focuses on that moment when the girls must decide whether to keep their babies or to give them up for adoption. Despite their fantasies of rescue by 'caring' young fathers, they must decide alone. Meanwhile, Bird slowly dies in the plush boudoir of his longtime mistress, trapped in a narcotic fog and the lost dreams of his exploited talent." -From Margaret B Wilkerson's introduction to the play in 9 Plays by Black Women

The Female Complaint is part of Lauren Berlant’s groundbreaking “national sentimentality” project charting the emergence of the U.S. political sphere as an affective space of attachment and identification. In this book, Berlant chronicles the origins and conventions of the first mass-cultural “intimate public” in the United States, a “women’s culture” distinguished by a view that women inevitably have something in common and are in need of a conversation that feels intimate and revelatory. As Berlant explains, “women’s” books, films, and television shows enact a fantasy that a woman’s life is not just her own, but an experience understood by other women, no matter how dissimilar they are. The commodified genres of intimacy, such as “chick lit,” circulate among strangers, enabling insider self-help talk to flourish in an intimate public. Sentimentality and complaint are central to this commercial convention of critique; their relation to the political realm is ambivalent, as politics seems both to threaten sentimental values and to provide certain opportunities for their extension. Pairing literary criticism and historical analysis, Berlant explores the territory of this intimate public sphere through close readings of U.S. women’s literary works and their stage and film adaptations. Her interpretation of Uncle Tom’s Cabin and its literary descendants reaches from Harriet Beecher Stowe to Toni Morrison’s Beloved, touching on Shirley Temple, James Baldwin, and The Bridges of Madison County along the way. Berlant illuminates different permutations of the women’s intimate public through her readings of Edna Ferber’s Show Boat; Fannie Hurst’s Imitation of Life; Olive Higgins Prouty’s feminist melodrama Now, Voyager; Dorothy Parker’s poetry, prose, and Academy Award–winning screenplay for A Star Is Born; the Fay Weldon novel and Roseanne Barr film The Life and Loves of a She-Devil; and the queer, avant-garde film Showboat 1988–The Remake. The Female Complaint is a major contribution from a leading Americanist.

The basis for the major motion picture of the same name. An entrancing memoir of how one woman's journey of self-discovery gave her the courage to persevere in re-creating her life. Life is a work in progress, as ever-changing as a sandy shoreline along the beach. During the years Joan Anderson was a loving wife and supportive mother, she had slowly and unconsciously replaced her own dreams with the needs of her family. With her sons grown, however, she realized that the family no longer centered on the home she provided, and her relationship with her husband had become stagnant. Like many women in her situation, Joan realized that she had neglected to nurture herself and, worse, to envision fulfilling goals for her future. As her husband received a wonderful job opportunity out-of-state, it seemed that the best part of her own life was finished. Shocking both of them, she refused to follow him to his new job and decided to retreat to a family cottage on Cape Cod. At first casting about for direction, Joan soon began to take pleasure in her surroundings and call on resources she didn't realize she had. Over the course of a year, she gradually discovered that her life as an "unfinished woman" was full of possibilities. Out of that magical, difficult, transformative year came A Year by the Sea, a record of her experiences and a treasury of wisdom for readers.

For centuries, women and their allies have fought for women's rights in all areas of life--bodily autonomy, education, work, culture, science, politics, and history. Their efforts have fundamentally changed the world we live in. And in the midst of today's highly politicized debates over equality, it is clear that the struggle is not yet over. Unfinished Business, a diverse collection of timely essays organized around the themes of body, mind, and voice, presents the fierce history of women's rights work in the UK, from early campaigns through the present day. Employing personal diaries, banners, and protest fashion, as well as subversive literature, film, music, and art, contributors reveal how activists have fought for equality with passion, humor, and tenacity. Their frank examinations--of gender fluidity, representation, black women's educational access, the right to sexual pleasure, the underlying imperialism of early feminism, and more--offer a forward-facing look at the ways the work of the past can act as an engine to power future change. This volume complements and accompanies a major exhibition at the British Library.