A traditional American woman, a beautiful wife and mother who sells her pioneer lifestyle of raw milk and farm-fresh eggs to her millions of social media followers, suddenly awakens cold, filthy, and terrified in the brutal reality of 1805—where she must unravel whether this living nightmare is an elaborate hoax, a twisted reality show, or something far more sinister in this sensational debut novel. My name was Natalie Heller Mills, and I was perfect at being alive. Natalie lives a traditional lifestyle. Her charming farmhouse is rustic, her husband a handsome cowboy, her six children each more delightful than the last. So what if there are nannies and producers behind the scenes, her kitchen hiding industrial-grade fridges and ovens, her husband the Republican equivalent of a Kennedy? What Natalie’s followers—all 8 million of them—don’t know won’t hurt them. And The Angry Women? The privileged, Ivy League, coastal elite haters who call her an antifeminist iconoclast? They’re sick with jealousy. Because Natalie isn’t simply living the good life, she’s living the ideal—and just so happens to be building an empire from it. Until one morning she wakes up in a life that isn’t hers. Her home, her husband, her children—they’re all familiar, but something’s off. Her kitchen is warmed by a sputtering fire rather than electricity, her children are dirty and strange, and her soft-handed husband is suddenly a competent farmer. Just yesterday Natalie was curating photos of homemade jam for her Instagram, and now she’s expected to haul firewood and handwash clothes until her fingers bleed. Has she become the unwitting star of a brutal reality show? Could it really be time travel? Is she being tested by God? By Satan? When Natalie suffers a brutal injury in the woods, she realizes two things: This is not her beautiful life, and she must escape by any means possible. A gripping, electrifying novel that is as darkly funny as it is frightening, Yesteryear is a gimlet-eyed look at tradition, fame, faith, and the grand performance of womanhood.

Una conmovedora novela de Pilar Quintana. Damaris, una mujer del Pacífico entrada en la madurez y con muchas decepciones a cuestas, adopta a una perra y la llama Chirli, como hubiera querido llamar a la hija que nunca tuvo. Nace, así, una relación intensa y entrañable, en la que Damaris pone todo de sí para enderezar un destino que ya creía del todo torcido. En el 2018, Pilar Quintana ganó el Premio de Narrativa Colombiana por esta novela.

Derrière les façades de luxueux immeubles parisiens, les immenses grilles de châteaux, les baies vitrées de vastes villas de la Côte d'Azur, se cache un personnel invisible mais présent quotidiennement au service des grandes fortunes. Gouvernantes, majordomes, femmes de chambre et de ménage, lingères, nannies, cuisiniers ou chauffeurs travaillent du matin au soir, et souvent la nuit, pour satisfaire les besoins et désirs des millionnaires qui les emploient à leur domicile. En s'appuyant sur une enquête immersive de plusieurs années, ce livre lève le voile sur les relations quotidiennes entre ceux qui servent et ceux qui sont servis. Ce faisant, il éclaire les ressorts d'une cohabitation socialement improbable, faite de domination et de résistances. Elle-même prise dans ces relations, en travaillant un temps comme domestique, Alizée Delpierre montre comment une certaine " exploitation dorée " peut faire rêver des femmes et des hommes qui y voient une réelle opportunité d'ascension sociale. Du côté des grandes fortunes, déléguer toutes les tâches ingrates demeure essentiel pour consolider leur pouvoir et jouir à plein de leur capital. Elles sont prêtes à tout pour fidéliser leurs domestiques et conserver ce privilège de classe, pour le meilleur comme pour le pire.

Cuckoo is a searing new novel from Manhunt author Gretchen Felker-Martin, where a motley crew of kidnapped kids try to stay true to themselves while serving time in a conversion camp from hell. In the late 90s, five queer kids, whose parents want them “fixed,” find themselves thrown together at a secretive "tough love" camp deep in the scorching Utah desert. Tormented and worked to the point of collapse by hardline religious zealots intent on straightening them out, they slowly become aware that something in the mountains north of the camp is speaking to them in their dreams, and that the children who return home to their families have...changed.

Finalist, Lambda Literary AwardIn the beginning, there is no he. There is no she.Two cells make up one cell. This is the mathematics behind creation. One plus one makes one. Life begets life. We are the period to a sentence, the effect to a cause, always belonging to someone. We are never our own.This is why we are so lonely.She of the Mountains is a beautifully rendered illustrated novel by Vivek Shraya, the author of the Lambda Literary Award finalist God Loves Hair. Shraya weaves a passionate, contemporary love story between a man and his body, with a re-imagining of Hindu mythology. Both narratives explore the complexities of embodiment and the damaging effects that policing gender and sexuality can have on the human heart.Illustrations are by Raymond Biesinger, whose work has appeared in such publications as The New Yorker and the New York Times.Vivek Shraya is a multimedia artist, working in the mediums of music, performance, literature, and film. His most recent film, What I LOVE about Being QUEER, has been expanded to include an online project and book with contributions from around the world. He is also author of God Loves Hair. This publication meets the EPUB Accessibility requirements and it also meets the Web Content Accessibility Guidelines (WCAG-AA). It is screen-reader friendly and is accessible to persons with disabilities. A Simple book with few images, which is defined with accessible structural markup. This book contains various accessibility features such as alternative text for images, table of contents, page-list, landmark, reading order and semantic structure.

Who is Mister Magic? Former child stars reunite to uncover the tragedy that ended their show—and discover the secret of its enigmatic host—in this dark supernatural thriller from the #1 New York Times bestselling author of Hide. Thirty years after a tragic accident shut down production of the classic children’s program Mister Magic, the five surviving cast members have done their best to move on. But just as generations of cultishly devoted fans still cling to the lessons they learned from the show, the cast, known as the Circle of Friends, have spent their lives searching for the happiness they felt while they were on it. The friendship. The feeling of belonging. And the protection of Mister Magic. But with no surviving video of the show, no evidence of who directed or produced it, and no records of who—or what—the beloved host actually was, memories are all the former Circle of Friends has. Then a twist of fate brings the castmates back together at the remote desert filming compound that feels like it’s been waiting for them all this time. Even though they haven’t seen each other for years, they understand one another better than anyone has since. After all, they’re the only ones who hold the secret of that circle, the mystery of the magic man in his infinitely black cape, and, maybe, the answers to what really happened on that deadly last day. But as the Circle of Friends reclaim parts of their past, they begin to wonder: Are they here by choice, or have they been lured into a trap? Because magic never forgets the taste of your friendship. . . .

"Why Have There Been No Great Women Artists?" is a 1971 essay by American art historian Linda Nochlin. It is considered a pioneering essay for both feminist art history and feminist art theory. In this essay, Nochlin explores the institutional – as opposed to the individual – obstacles that have prevented women in the West from succeeding in the arts. She divides her argument into several sections, the first of which takes on the assumptions implicit in the essay's title, followed by "The Question of the Nude," "The Lady's Accomplishment," "Successes," and "Rosa Bonheur." In her introduction, she acknowledges "the recent upsurge of feminist activity" in America as a condition for her interrogation of the ideological foundations of art history, while also invoking John Stuart Mill's suggestion that "we tend to accept whatever is as natural". In her conclusion, she states: "I have tried to deal with one of the perennial questions used to challenge women's demand for true, rather than token, equality by examining the whole erroneous intellectual substructure upon which the question "Why have there been no great women artists?" is based; by questioning the validity of the formulation of so-called problems in general and the "problem" of women specifically; and then, by probing some of the limitations of the discipline of art history itself."

Long before people identified as transgender or lesbian, there were female husbands and the women who loved them. Female husbands - people assigned female who transed gender, lived as men, and married women - were true queer pioneers. Moving deftly from the colonial era to just before the First World War, Jen Manion uncovers the riveting and very personal stories of ordinary people who lived as men despite tremendous risk, danger, violence, and threat of punishment. Female Husbands weaves the story of their lives in relation to broader social, economic, and political developments in the United States and the United Kingdom while also exploring how attitudes towards female husbands shifted in relation to transformations in gender politics and women's rights, ultimately leading to the demise of the category of 'female husband' in the early twentieth century. Groundbreaking and influential, Female Husbands offers a dynamic, varied, and complex history of the LGBTQ past.

A timely second edition of the classic text on transgender history, with a new introduction and updated material throughout Covering American transgender history from the mid-twentieth century to today, Transgender History takes a chronological approach to the subject of transgender history, with each chapter covering major movements, writings, and events. Chapters cover the transsexual and transvestite communities in the years following World War II; trans radicalism and social change, which spanned from 1966 with the publication of The Transsexual Phenomenon, and lasted through the early 1970s; the mid-'70s to 1990-the era of identity politics and the changes witnessed in trans circles through these years; and the gender issues witnessed through the '90s and '00s.Transgender History includes informative sidebars highlighting quotes from major texts and speeches in transgender history and brief biographies of key players, plus excerpts from transgender memoirs and discussion of treatments of transgenderism in popular culture.

An urgent, vital manifesto of intersectional, internationalist, abolitionist feminism, from leading scholar-activists Angela Y. Davis, Gina Dent, Erica Meiners, and Beth E. Richie. As a politic and a practice, abolition increasingly shapes our political moment—halting the construction of new jails and propelling movements to divest from policing. Yet erased from this landscape are the central histories of feminist organizing—usually queer, anti-capitalist, grassroots, and women of color—that continue to cultivate abolition. Also erased is a recognition of the stark reality: abolition is our best response to endemic forms of state and interpersonal gender and sexual violence. Amplifying the analysis and the theories of change generated from vibrant community based organizing, Abolition. Feminism. Now. surfaces necessary historical genealogies, key internationalist learnings, and everyday practices to grow our collective and flourishing present and futures.

Anzaldua, a Chicana native of Texas, explores in prose and poetry the murky, precarious existence of those living on the frontier between cultures and languages. Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Anzaldua is a rebellious and willful talent who recognizes that life on the border, "life in the shadows," is vital territory for both literature and civilization. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues.

From one of our most important scholars and civil rights activist icon, a powerful study of the women’s liberation movement and the tangled knot of oppression facing Black women. "Angela Davis is herself a woman of undeniable courage. She should be heard." —The New York Times Angela Davis provides a powerful history of the social and political influence of whiteness and elitism in feminism, from abolitionist days to the present, and demonstrates how the racist and classist biases of its leaders inevitably hampered any collective ambitions. While Black women were aided by some activists like Sarah and Angelina Grimke and the suffrage cause found unwavering support in Frederick Douglass, many women played on the fears of white supremacists for political gain rather than take an intersectional approach to liberation. Here, Davis not only contextualizes the legacy and pitfalls of civil and women's rights activists, but also discusses Communist women, the murder of Emmitt Till, and Margaret Sanger's racism. Davis shows readers how the inequalities between Black and white women influence the contemporary issues of rape, reproductive freedom, housework and child care in this bold and indispensable work.

Cuckoo is a searing new novel from Manhunt author Gretchen Felker-Martin, where a motley crew of kidnapped kids try to stay true to themselves while serving time in a conversion camp from hell. In the late 90s, five queer kids, whose parents want them “fixed,” find themselves thrown together at a secretive "tough love" camp deep in the scorching Utah desert. Tormented and worked to the point of collapse by hardline religious zealots intent on straightening them out, they slowly become aware that something in the mountains north of the camp is speaking to them in their dreams, and that the children who return home to their families have...changed.

« Je m’appelle Sylvie Meyer. J’ai 53 ans. Je suis mère de deux enfants. Je suis séparée de mon mari depuis un an. Je travaille à la Cagex, une entreprise de caoutchouc. Je dirige la section des ajustements. Je n’ai aucun antécédent judiciaire. » Sylvie est une femme banale, modeste, ponctuelle, solide, bonne camarade, une femme simple, sur qui on peut compter. Lorsque son mari l’a quittée, elle n’a rien dit, elle n’a pas pleuré, elle a essayé de faire comme si tout allait bien, d’élever ses fils, d’occuper sa place dans ce lit devenu trop grand pour elle. Lorsque son patron lui a demandé de faire des heures supplémentaires, de surveiller les autres salariés, elle n’a pas protesté : elle a agi comme les autres l’espéraient. Jusqu’à ce matin de novembre où cette violence du monde, des autres, sa solitude, l’injustice se sont imposées à elle. En une nuit, elle détruit tout. Ce qu’elle fait est condamnable, passable de poursuite, d’un emprisonnement mais le temps de cette révolte Sylvie se sent vivante. Elle renaît. Un portrait de femme magnifique, bouleversant : chaque douleur et chaque mot de Sylvie deviennent les nôtres et font écho à notre vie, à notre part de pardon, à nos espoirs de liberté et de paix.

« Je m’appelle Sylvie Meyer. J’ai 53 ans. Je suis mère de deux enfants. Je suis séparée de mon mari depuis un an. Je travaille à la Cagex, une entreprise de caoutchouc. Je dirige la section des ajustements. Je n’ai aucun antécédent judiciaire. » Sylvie est une femme banale, modeste, ponctuelle, solide, bonne camarade, une femme simple, sur qui on peut compter. Lorsque son mari l’a quittée, elle n’a rien dit, elle n’a pas pleuré, elle a essayé de faire comme si tout allait bien, d’élever ses fils, d’occuper sa place dans ce lit devenu trop grand pour elle. Lorsque son patron lui a demandé de faire des heures supplémentaires, de surveiller les autres salariés, elle n’a pas protesté : elle a agi comme les autres l’espéraient. Jusqu’à ce matin de novembre où cette violence du monde, des autres, sa solitude, l’injustice se sont imposées à elle. En une nuit, elle détruit tout. Ce qu’elle fait est condamnable, passable de poursuite, d’un emprisonnement mais le temps de cette révolte Sylvie se sent vivante. Elle renaît. Un portrait de femme magnifique, bouleversant : chaque douleur et chaque mot de Sylvie deviennent les nôtres et font écho à notre vie, à notre part de pardon, à nos espoirs de liberté et de paix.