Within every woman, there lives a powerful force, filled with good instincts, passionate creativity, and ageless knowing. She is the Wild Woman, who represents the instinctual nature of women. But she is an endangered species. For though the gifts of wildish nature belong to us at birth, society's attempt to "civilize" us into rigid roles has muffled the deep, life-giving messages of our own souls. In "Women Who Run With the Wolves," Dr Estes unfolds rich intercultural myths, fairytales and stories, many from her own family, in order to help women reconnect with the fierce, healthy, visionary attributes of this instinctual nature. Through the stories and commentaries in this remarkable book, we retrieve, examine, love, and understand the Wild Woman, and hold her against our deep psyches as one who is both magic and medicine. Dr Estes has created a new lexicon for describing the female psyche. Fertile and life-giving, it is a psychology of women in the truest sense, a knowing of the soul.

The 33 Scandinavian folk tales take the imagination of the reader from rags to riches, from skulduggery to heroism, via witches' curses, beautiful princesses, giants, quests, billy goats and the occasional wicked troll, to a happy ending.

What does the Right offer to women? How does the Right mobilize women? Why is the Right succeeding in opposing women's rights? With the stark precision and forceful passion that characterize all of her work, Andrea Dworkin answers these timely questions. And by providing the first clear analysis of the impact on women of the Right's position on abortion, homosexuality, anti-Semitism, female poverty, and antifeminism, she demonstrates how the Right attempts both to exploit and to quiet women's deepest fears. — From the reverse cover.

In what was at first meant to be a short essay about the influential Mexican writer Elena Garro, Jazmina Barrera’s deep curiosity and exploration give us a singular portrait of a complex life. Sifting through the writer’s archives at Princeton, Barrera is repeatedly thwarted in her attempt to fully know her subject. Traditional means of research—the correspondence, photos, and books—serve only to complicate and cloud the woman and her work. Who was Elena Garro, really? She was a writer, a founder of “magical realism”, a dancer. A devotee to the tarot and theI Ching. A socialite and activist on behalf of indigenous Mexicans. She was a mother and a lover who repeatedly shook off (and cheated on) her manipulative husband, Nobel-laureate Octavio Paz. And above all, she wrote with simmering anger and glittering imagination. The Queen of Swords is a portrait of a woman that also serves as an alternative history of Mexico City; a cry-out for justice; and an homage to the unknowable. It transcends mere biography, supplanting something tidy and authoritative for a sprawling experiment in understanding.

A princess desperate to win back the prince who broke her heart follows him to his kingdom's prestigious military academy – and in doing so, falls in love, saves the realm, and continues to look fabulous, in this romantic debut fantasy. Prince Domhnall and Princess Clía are a perfect royal match – or so everyone says. Until Domhnall ruins everything by refusing to propose. Heartbroken but determined, Clía makes the perfect plan: Follow Domhnall to Caisleán Cósta, the military academy he’s attending. Show she can protect her kingdom. Secure the betrothal. Sure, the castle has a brutal reputation. But how hard can dueling really be? Warrior Ronan promised himself he’d never lose his focus. He fought and sacrificed for his place at Caisleán Cósta, and he has no time for blonde princesses who waltz intro arenas like they’re attending a ball. Even if she and her otter-like pet are…well, cute. He doesn’t want to be intrigued by Clía. But her hunger to prove herself is something he understands. He tells himself there’s no harm training her. Even if his heart does race around her. Even if Domhnall is his best friend. But as they say, love is a battlefield – and unfortunately for them all, a very real war is looming on the horizon. It’s a fight that will threaten all their kingdoms…and test all their hearts.

From Atlantic critic and Pulitzer Prize finalist Sophie Gilbert, a blazing critique of how early-aughts pop culture turned women and girls against each other—and themselves—with disastrous consequencesWhat happened to feminism in the 21st century? This question feels increasingly urgent after a period of reactionary cultural and legislative backlash, when widespread uncertainty about the movement’s power, focus, and currency threatens decades of progress. Sophie Gilbert, a staff writer at The Atlantic and finalist for the Pulitzer Prize in criticism, provides one answer, identifying an inflection point in the late 1990s and early 2000s when the energy of third-wave and “riot girrrl” feminism collapsed into a regressive period of hyper-objectification, sexualization, and infantilization. Gilbert mines the darker side of nostalgia, training her keen analytic eye on the most revealing cultural objects of the era, across music, film, television, fashion, tabloid journalism, and more. And what she recounts is harrowing, from the leering aesthetic of American Apparel ads and explicit music videos to a burgeoning internet culture vicious towards women in the spotlight and damaging for those who weren’t. Gilbert tracks many of the period’s dominant themes back to the explosion of internet porn, tracing its widespread influence as it began to pervade our collective consciousness. Gilbert paints a devastating picture of an era when a distinctly American confluence of excess, materialism, and power-worship collided with the culture’s reactionary, puritanical, and chauvinistic currents. Amid a collective reconsideration of the way women are treated in public, Girl on Girl is a blistering indictment of the matrix of misogyny that undergirded the cultural production of the early twenty-first century, and how it continues to shape our world today.

Matilda Boseley’s adult ADHD diagnosis was a massive, earth-shattering event. She was given a prescription but had no idea what ADHD meant for her identity, her relationships or her future.Twelve months of confusion later, journalist Matilda embarked on an epic voyage to figure out what’s really happening in the stormy seas of the ADHD brain and write the guide she wished she’d had.The Year I Met My Brain is the ultimate travel companion for navigating and enjoying life as an ADHD adult, - what adult ADHD symptoms look like- why so many ADHDers (especially females) are missed as kids - how the disorder impacts our relationships, careers and self-esteem- why we unfairly treat ourselves like failures – and how to find self-forgiveness and healing- practical tips for social and organisational wins- and, most importantly, how to make our lives work to fit our brains rather than trying to force our brains to fit our lives.Uplifting, empowering, deeply researched and sparkling with 'a-ha' moments, The Year I Met My Brain is an invaluable resource for ADHDers and those who love them.

Alternate cover edition of ISBN 9781538742570. Every day I clean the Winchesters’ beautiful house top to bottom. I collect their daughter from school. And I cook a delicious meal for the whole family before heading up to eat alone in my tiny room on the top floor. I try to ignore how Nina makes a mess just to watch me clean it up. How she tells strange lies about her own daughter. And how her husband Andrew seems more broken every day. But as I look into Andrew’s handsome brown eyes, so full of pain, it’s hard not to imagine what it would be like to live Nina’s life. The walk-in closet, the fancy car, the perfect husband. I only try on one of Nina’s pristine white dresses once. Just to see what it’s like. But she soon finds out… and by the time I realize my attic bedroom door only locks from the outside, it’s far too late. But I reassure myself: the Winchesters don’t know who I really am. They don’t know what I’m capable of…

The notion of paganism as a wild and primitive force has exerted a huge influence on folk horror. In fiction, pagan rituals are often seen as primitive and barbarous, but also as an antidote to repression and conventionalism. What have these Wild Gods represented, and what do they represent now? How did these ideas find their way into modern Britain? From the cult of Pan in Edwardian England to 1970s Satanists, from Bacchanals in Buckinghamshire to the echo of voodoo drums in Cornwall, from ritual madness to sex magick. Amidst the idyllic English countryside, the Wild Gods awaken to threaten everything that is respectable. Featuring words by Alan Moore, Katy Soar, Melissa Edmundson, Ruth Heholt, John Reppion, Anna Milon, and K. A. Laity. Artwork by Occult Party, Joe Gough, and Richard Wells.

Hellebore is a poisonous plant that has the power of altering perception, and it's thought to be one of the main ingredients for the witches' flying ointment. Associated with the water element, it is known for opening up portals to the Underworld and the subconscious. Hellebore is a collection of writings and essays devoted to British folk horror and the themes that inspire it: folklore, myth, history, archaeology, psychogeography, witches & the occult. The Sacrifice issue examines the role of human sacrifice in folk horror. From The Wicker Man to Blood on Satan's Claw. Delve into a world of witchcraft, megalithic monuments, and pagan survivals in hidden rural areas. Featuring words by Ronald Hutton, Katy Soar, Verity Holloway, David Southwell (Hookland), Dee Dee Chainey, Mercedes Miller, John Reppion, and Maria J. Pérez Cuervo. Artwork by Paul Watson and Eli John.

A Human hybrid and an Alpha Were claw against the bonds of fate in the highly anticipated companion novel to the New York Times bestselling Bride. Serena Paris is orphaned, pack-less, and one of a kind. Coming forward as the first Human-Were hybrid was supposed to heal a centuries-long rift between species. Instead, it made her a target, prey to the ruthless political machinations between Weres, Vampyres, and Humans. With her enemies closing in on her, she has only one option left—if he’ll have her. As Alpha of the Northwest pack, Koen Alexander commands obedience. His authority is so absolute, only a fool would threaten his mate. It doesn’t matter if Serena doesn’t reciprocate his feelings, nothing will stop him from keeping her safe. But power-hungry Vampyres and Weres are not the only threats chasing Serena. Sooner or later, her past is bound to catch up with her—and Koen might be the only thing standing between her and total annihilation…

A Human hybrid and an Alpha Were claw against the bonds of fate in the highly anticipated companion novel to the New York Times bestselling Bride. Serena Paris is orphaned, pack-less, and one of a kind. Coming forward as the first Human-Were hybrid was supposed to heal a centuries-long rift between species. Instead, it made her a target, prey to the ruthless political machinations between Weres, Vampyres, and Humans. With her enemies closing in on her, she has only one option left—if he’ll have her. As Alpha of the Northwest pack, Koen Alexander commands obedience. His authority is so absolute, only a fool would threaten his mate. It doesn’t matter if Serena doesn’t reciprocate his feelings, nothing will stop him from keeping her safe. But power-hungry Vampyres and Weres are not the only threats chasing Serena. Sooner or later, her past is bound to catch up with her—and Koen might be the only thing standing between her and total annihilation…

Turns out that reading nothing but true crime isn’t exactly conducive to modern dating—and one woman is going to have to learn how to give love a chance when she’s used to suspecting the worst. PhD candidate Phoebe Walsh has always been obsessed with true crime. She’s even analyzing the genre in her dissertation—if she can manage to finish writing it. It’s hard to find the time while she spends the summer in Florida, cleaning out her childhood home, dealing with her obnoxiously good-natured younger brother, and grappling with the complicated feelings of mourning a father she hadn’t had a relationship with for years. It doesn’t help that she’s low-key convinced that her new neighbor, Sam Dennings, is a serial killer (he may dress business casual by day, but at night he’s clearly up to something). It’s not long before Phoebe realizes that Sam might be something much scarier—a genuinely nice guy who can pierce her armor to reach her vulnerable heart.