In this provocative, pioneering, and wholly engrossing cultural history, noted scholar Marilyn Yalom explores twenty-five thousand years of ideas, images, and perceptions of the female breast--in religion, psychology, politics, society, and the arts. Through the centuries, the breast has been laden with hugely powerful and contradictory meanings. There is the "good breast" of reverence and life, the breast that nourishes infants and entire communities, as depicted in ancient idols, fifteenth-century Italian Madonnas, and representations of equality in the French Revolution. Then there is the "bad breast" of Ezekiel's wanton harlots, Shakespeare's Lady Macbeth, and the torpedo-breasted dominatrix, symbolizing enticement and aggression. Yalom examines these contradictions--and illuminates the implications behind them. A fascinating, astute, and richly allusive journey from Paleolithic goddesses to modern day feminists, A History of the Breast is full of insight and surprises. As Yalom says, "I intend to make you think about women's breasts as you never have before." In this, she succeeds brilliantly.

Irgendwo in Ger(wo)many. Die Terroristinnen-Zelle „Female Liberation Army“ (FLA) bereitet den Umsturz des Patriarchats und die Installation einer neuen weiblichen Weltordnung vor. Dazu hat ihre Anführerin Big Mother eine Gruppe von acht schwer erziehbaren Mädchen um sich gesammelt, die sie gemeinsam mit ihren Kameradinnen auf einem abgelegenen Landgut ausbildet. Nach außen hin ist das Anwesen als katholische Internatsschule getarnt. Um die Revolution zu finanzieren und die eigene Ideologie zu verbreiten, drehen die Frauen feministische Pornographie. Doch als eines der Mädchen einen verletzten linksradikalen Soldaten im Wald entdeckt und heimlich in den Keller des Anwesens bringt, um ihn gesund zu pflegen, droht die strikte Hausordnung aus den Fugen zu geraten. Der neue Film des kanadischen Kultregisseurs Bruce LaBruce („Otto; or, Up with Dead People“, „Geron“) funktioniert als Fortsetzung seiner berüchtigten Propaganda-Porno-Satire „The Raspberry Reich“ (2005). Nicht ohne Grund mögen manche bei der Geschichte an den jüngsten Film von Sofia Coppola denken: Wie „Die Verführten“ (2017) ist DIE MISANDRISTINNEN ein Remake des Bürgerkriegsmelodram „Betrogen“ (1971). Sein ungleich geringeres Budget kompensiert LaBruce mit der Besetzung von queeren Underground-Stars (Susanne Sachße, Kembra Pfahler) und radikalen Regieeinfällen, die die Grenzen des guten Geschmacks bis aufs Äußerste ausreizen. Pressezitate: - „Ein filmischer Molotowcocktail!“ - (ArtForum) - „Einer der großartigsten lesbischen Filme aller Zeiten!“ - (Indiewire) - „Camp besiegt die Plotlogik!“ - (L-Mag) - „Ein programmatisch gescheitertes Experiment.“ - (Filmdienst) - „Die Misandristinnen schlagen die Maskulisten. Ehre sei der Mutter und der Tochter und der heiligen Möse.“ - (Konkret)

Irgendwo in Ger(wo)many. Die Terroristinnen-Zelle „Female Liberation Army“ (FLA) bereitet den Umsturz des Patriarchats und die Installation einer neuen weiblichen Weltordnung vor. Dazu hat ihre Anführerin Big Mother eine Gruppe von acht schwer erziehbaren Mädchen um sich gesammelt, die sie gemeinsam mit ihren Kameradinnen auf einem abgelegenen Landgut ausbildet. Nach außen hin ist das Anwesen als katholische Internatsschule getarnt. Um die Revolution zu finanzieren und die eigene Ideologie zu verbreiten, drehen die Frauen feministische Pornographie. Doch als eines der Mädchen einen verletzten linksradikalen Soldaten im Wald entdeckt und heimlich in den Keller des Anwesens bringt, um ihn gesund zu pflegen, droht die strikte Hausordnung aus den Fugen zu geraten. Der neue Film des kanadischen Kultregisseurs Bruce LaBruce („Otto; or, Up with Dead People“, „Geron“) funktioniert als Fortsetzung seiner berüchtigten Propaganda-Porno-Satire „The Raspberry Reich“ (2005). Nicht ohne Grund mögen manche bei der Geschichte an den jüngsten Film von Sofia Coppola denken: Wie „Die Verführten“ (2017) ist DIE MISANDRISTINNEN ein Remake des Bürgerkriegsmelodram „Betrogen“ (1971). Sein ungleich geringeres Budget kompensiert LaBruce mit der Besetzung von queeren Underground-Stars (Susanne Sachße, Kembra Pfahler) und radikalen Regieeinfällen, die die Grenzen des guten Geschmacks bis aufs Äußerste ausreizen. Pressezitate: - „Ein filmischer Molotowcocktail!“ - (ArtForum) - „Einer der großartigsten lesbischen Filme aller Zeiten!“ - (Indiewire) - „Camp besiegt die Plotlogik!“ - (L-Mag) - „Ein programmatisch gescheitertes Experiment.“ - (Filmdienst) - „Die Misandristinnen schlagen die Maskulisten. Ehre sei der Mutter und der Tochter und der heiligen Möse.“ - (Konkret)

A bestselling novel in Iran, despite being banned twice by the government, The Book of Fate follows a teenage girl in pre-revolutionary Iran through five turbulent decades, from before the 1979 revolution, through the Islamic Republic, and up to the present in this powerful story of friendship, passion, and hope. A teenager in pre-revolutionary Tehran, Massoumeh is an average girl, passionate about learning. On her way to school she meets a local man and falls in love, but when her family discover his letters they accuse her of bringing them dishonour. She is badly beaten by her brother, and her parents hastily arrange for her to marry to a man she's never met. Facing a life without love, and the prospect of no education, Massoumeh is distraught, but a female neighbour urges her to comply: "We each have a destiny, and you can't fight yours.” The years that follow Massoumeh's wedding prove transformative for Iran. Hamid, Massoumeh's husband, is a political dissident and a threat to the Shah's oppressive regime. When the secret service arrive to arrest him, it is the start of a terrifying period for Massoumeh. Her fate, so long dictated by family loyalty and tradition, is now tied to the changing fortunes of her country. Spanning five turbulent decades of Iranian history, from before the 1979 revolution, through the Islamic Republic, and up to the present, The Book of Fate is a truly remarkable story - and a rare insider's view of Iranian society.

A Biblical Vision of Gender Identity Since the beginning of humanity, people have recognized the distinct creation of the male and female gender in God's design. But with today's gender revolution, people are increasingly questioning who they are designed to be. In our society, gender identity has been divorced from biology and rerooted in psychology. Do the core teachings of the Bible uphold these modern ideas? In this concise booklet, Samuel Ferguson carefully and compassionately compares the core beliefs and practices of the transgender movement with fundamental truths expressed in Scripture. Ferguson argues human identity is not determined by the individual but is given to us by our Creator, who designed our bodies and minds with purpose and encourages us to live in Christlikeness—choosing the path of God-given transformation over man-made transition. - Short, Accessible Format: A concise biblical exploration of gender identity - TGC Hard Questions Series: Equips readers with answers to difficult questions facing the modern church - Great Resource for Parents, Pastors, or Those Struggling with Gender Identity: Offers advice for tackling personal and corporate controversies related to sex and gender

Writing in an age when the call for the rights of man had brought revolution to America and France, Mary Wollstonecraft produced her own declaration of female independence in 1792. Passionate and forthright, A Vindication of the Rights of Woman attacked the prevailing view of docile, decorative femininity, and instead laid out the principles of emancipation: an equal education for girls and boys, an end to prejudice, and for women to become defined by their profession, not their partner. Mary Wollstonecraft's work was received with a mixture of admiration and outrage - Walpole called her 'a hyena in petticoats' - yet it established her as the mother of modern feminism. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Writing in an age when the call for the rights of man had brought revolution to America and France, Mary Wollstonecraft produced her own declaration of female independence in 1792. Passionate and forthright, A Vindication of the Rights of Woman attacked the prevailing view of docile, decorative femininity, and instead laid out the principles of emancipation: an equal education for girls and boys, an end to prejudice, and for women to become defined by their profession, not their partner. Mary Wollstonecraft's work was received with a mixture of admiration and outrage - Walpole called her 'a hyena in petticoats' - yet it established her as the mother of modern feminism. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

¿¿¿¿¿¿¿¿¿¿¿THE SEARING ROMANTIC FANTASY PHENOMENON CONTINUES ¿¿¿¿¿¿¿¿¿¿¿ Revenge is a fire that burns bright in the epic finale of the Celtic-inspired romantasy duology that began with A Fate Forged in Fire, an instant Sunday Times bestseller¿¿¿¿ Aemyra Daercathian is a queen on the run. Having failed to take Àird Lasair and been betrayed by her husband - whom she had grown to trust and was beginning to fall for during her time in captivity - Aemyra is forced to retreat with a raging desire for revenge. She vows to defeat the Covenanters and fulfil a sacred promise to kill Fiorean. But no one can know the truth. Although Aemyra has a fierce dragon and a large army of Dùileach fighting by her side, she has lost what's most important - her fire magic. Haunted by her love for her enemy and unsure if she is even Goddess-blessed anymore, Aemyra must make a new kind of alliance, one that could mean winning back her territory. At a cost to her heart . . . From the ashes, Aemyra must emerge as a new kind of queen. Will she be the dawn for her people or the fire that burns everything to the ground? ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ 'The dragons? Epic. The men? Kneeling before their fiery queen, where they belong ' - S. A. MacLean, bestselling author of The Phoenix Keeper 'The perfect mix of female rage, revolution and a love strong enough to burn down a world - and remake it anew' - Holly Race, bestselling author of Six Wild Crowns ' Deftly weaves political machinations, romance and truly epic battles on dragon-back' - Brigitte Knightley, bestselling author of The Irresistible Urge to Fall for your Enemy 'A thrilling conclusion to this epic duology that is sure to leave hearts racing (for more reasons than one!)' - Rosie Hewlett, bestselling author of Medea ¿¿ READERS ARE OBSESSED ¿¿ 'Burns bright from the very first page' 'Everything I wanted from a finale and more' 'The female rage here is unmatched' 'THE dragon scene had me like ¿¿¿¿¿¿¿¿¿¿¿¿ ' 'The most perfect, fiery conclusion . . . please can we get more duologies in this world?!' 'Completely feral. Next. Level' ¿¿¿¿¿¿¿TROPES¿¿¿¿¿¿¿ Lovers to enemies to . . .? Only one dragon Female rage Dagger-to-throat Scottish folklore Elemental magic Political intrigue

Una guía imprescindible para las mujeres que quieran abordar su instinto y mejorar su vida a través de una nueva sexualidad más consciente. La revolución sexual fue uno de los estandartes del movimiento feminista de los años sesenta del siglo XX, pero la sexualidad femenina es, todavía hoy, un tema tabú. Por ello, Mireia Darder, con la colaboración de dos especialistas en el tema, nos brinda un libro en el que las mujeres encontrarán la manera de mejorar su nivel de satisfacción con la vida en general y con su vida sexual en particular. Estructurado en cuatro bloques temáticos, que van de la incidencia de la historia del patriarcado al aspecto biológico del sexo femenino, pasando por las creencias y la experiencia sexual tántrica; en este libro, repleto de propuestas prácticas, las lectoras encontrarán respuesta a un sinfín de aspectos fundamentales de su sexualidad. ENGLISH DESCRIPTION An essential guide for women who want to address and embrace their instinct and improve their lives through a new and more mindful sexuality. Women's sexual revolution was one of the most important themes of the feminist movement of the 1960s, however, female sexuality is still a taboo subject to this day. Mireia Darder, in collaboration with two specialists in the field, offers this book where she helps women find a way to have more satisfying overall lives and most importantly satisfying sexual lives. Structured into four main themes ranging from the predominance and history of a patriarchal society, to biological aspects of the female gender, and through the beliefs and experience of tantric sex, this book, full of practical suggestions and advice, will offer readers many answers to a host of fundamental aspects of their sexuality.

This play takes a crate of gift stamps, a Montreal kitchen, and 15 women, and mixing fast-moving dialogue, monologue and chorus, produces a critique of "women's place", Quebec society, and modern consumerism. It created uproar when first performed in 1968, being both vilified for its parochial vulgarity and praised for its revelation of the dynamic resources of popular language. In the perspectives newly opened by the Quiet Revolution of the 1960s, Michel Tremblay's depiction of the women's squabbles is a devastating critique, at once comic and bleak, of the traditional Quebec ideal of Catholic wife and mother. Killick's introduction begins by situating the realistic presentation of female subordination, under-achievement and frustration with the cultural development of modern Quebec. She then shows how it achieves added resonance as a symbol of the closed horizons of Quebec society, and more broadly, exceeding the purely Canadian context as a biting indictment of materialistic values, Finally Les Belles-Soeurs is examined as a virtuoso theatrical experiment combining traditional dialogue and the classical unities of time, space and action with the individual and group voices of cabaret and chorale. A glossary is provided for linguistic difficulties.

In Priests, Women, and Families, Jules Michelet turns from archival history to urgent social diagnosis, exposing what he sees as the Catholic priesthood's intrusion into the home through confession, female spiritual direction, and education. Written in fervent, lucid, polemical prose, it blends historical argument, moral exhortation, and Romantic symbolism. The work belongs to the anticlerical currents of post-Revolutionary France, where struggles over church, state, and domestic authority made the family a central political institution. Michelet, the great nineteenth-century historian of France, brought to this pamphlet the same imaginative nationalism that animates his histories of the Revolution, medieval France, and the people. Suspicious of institutions that subordinated conscience to hierarchy, he interpreted private life as the seedbed of civic liberty. His republican humanism, personal grief, and belief in woman as moral educator help explain the book's impassioned defense of marriage, maternal influence, and secular education. Readers interested in French intellectual history, gender, religion, or political culture will find this forceful text indispensable. Though its assumptions about women are unmistakably of its century, its central conflict remains illuminating: who forms the conscience of the household, and of the nation? Michelet's eloquence makes the controversy vivid rather than merely antiquarian.

In Priests, Women, and Families, Jules Michelet turns from archival history to urgent social diagnosis, exposing what he sees as the Catholic priesthood's intrusion into the home through confession, female spiritual direction, and education. Written in fervent, lucid, polemical prose, it blends historical argument, moral exhortation, and Romantic symbolism. The work belongs to the anticlerical currents of post-Revolutionary France, where struggles over church, state, and domestic authority made the family a central political institution. Michelet, the great nineteenth-century historian of France, brought to this pamphlet the same imaginative nationalism that animates his histories of the Revolution, medieval France, and the people. Suspicious of institutions that subordinated conscience to hierarchy, he interpreted private life as the seedbed of civic liberty. His republican humanism, personal grief, and belief in woman as moral educator help explain the book's impassioned defense of marriage, maternal influence, and secular education. Readers interested in French intellectual history, gender, religion, or political culture will find this forceful text indispensable. Though its assumptions about women are unmistakably of its century, its central conflict remains illuminating: who forms the conscience of the household, and of the nation? Michelet's eloquence makes the controversy vivid rather than merely antiquarian.

„Zu meiner Verblüffung gibt es in der 400-jährigen Überlieferung der bürgerlich-industriellen Revolution wenige charismatische Idole. Es gibt Washington, Jefferson, die Marktfrauen 1789 in Paris, Freiheitskämpferinnen, die den König aus Versailles nach Paris abholen, das junge Gesicht des Revolutionärs Saint-Just, der soeben von einer gewonnenen Schlacht in Nordfrankreich, die er kommandierte, zurückkehrt. Das leuchtendste Beispiel aber – neben den Porträts von Immanuel Kant, dem Mathematiker Euler, von Hölderlin, Novalis, Kleist, Edgar Allan Poe, Hemingway – bleibt DAS Bild Bonapartes von Silvester 1799. Nur über dieses Gesicht, und nur über diesen kurzen Augenblick der Hoffnung – das ist es, von dem ich hier schreibe.” Alexander Kluges Napoleon-Kommentar ist eine Beobachtung zusammengesetzt aus Geschichten, Filmbildern, Tagebuchnotizen und drei Zeichnungen von Georg Baselitz. Erzählen als eine Form, sich in die Geschichte hineinzuweben. Alexander Kluge, geboren 1932 in Halberstadt, ist Filmemacher, Autor, Fensehproduzent, Philosoph und Rechtsanwalt. Bei Spector Books erschienen in den vergangenen Jahren sechs Bücher von ihm, u.a. zusammen mit Ben Lerner Schnee über Venedig (2019) und zusammen mit Georg Baselitz Parsifal Kontainer (2020). – ”To my astonishment, there are but few charismatic idols in the 400-year tradition of the bourgeois industrial revolution: Washington, Jefferson, the women in the Paris marketplace in 1789—those female freedom fighters marching on Versailles and bringing the King to Paris—the young face of the revolutionary Saint-Just, newly returned as commander from a victorious battle in northern France. But the most brilliant example—besides the portraits of Immanuel Kant, of Euler the mathematician, of Hölderlin, Novalis, Kleist, Edgar Allan Poe, and Hemingway—is still THE picture of Bonaparte from New Year’s Eve, 1799. What I write of here is confined to this face, this brief flicker of hope.“ Alexander Kluge’s Commentary on Napoleon is a study made up of stories, cinematic images, diary entries, and three drawings by Georg Baselitz. Narration as a way of weaving oneself into history. Alexander Kluge, born 1932 in Halberstadt, is a film-maker, writer, TV producer, philosopher, and lawyer. Spector Books has published six of his books in recent years, including The Snows of Venice (with Ben Lerner, 2019) and Parsifal Container (with Georg Baselitz, 2020).

„Zu meiner Verblüffung gibt es in der 400-jährigen Überlieferung der bürgerlich-industriellen Revolution wenige charismatische Idole. Es gibt Washington, Jefferson, die Marktfrauen 1789 in Paris, Freiheitskämpferinnen, die den König aus Versailles nach Paris abholen, das junge Gesicht des Revolutionärs Saint-Just, der soeben von einer gewonnenen Schlacht in Nordfrankreich, die er kommandierte, zurückkehrt. Das leuchtendste Beispiel aber – neben den Porträts von Immanuel Kant, dem Mathematiker Euler, von Hölderlin, Novalis, Kleist, Edgar Allan Poe, Hemingway – bleibt DAS Bild Bonapartes von Silvester 1799. Nur über dieses Gesicht, und nur über diesen kurzen Augenblick der Hoffnung – das ist es, von dem ich hier schreibe.” Alexander Kluges Napoleon-Kommentar ist eine Beobachtung zusammengesetzt aus Geschichten, Filmbildern, Tagebuchnotizen und drei Zeichnungen von Georg Baselitz. Erzählen als eine Form, sich in die Geschichte hineinzuweben. Alexander Kluge, geboren 1932 in Halberstadt, ist Filmemacher, Autor, Fensehproduzent, Philosoph und Rechtsanwalt. Bei Spector Books erschienen in den vergangenen Jahren sechs Bücher von ihm, u.a. zusammen mit Ben Lerner Schnee über Venedig (2019) und zusammen mit Georg Baselitz Parsifal Kontainer (2020). – ”To my astonishment, there are but few charismatic idols in the 400-year tradition of the bourgeois industrial revolution: Washington, Jefferson, the women in the Paris marketplace in 1789—those female freedom fighters marching on Versailles and bringing the King to Paris—the young face of the revolutionary Saint-Just, newly returned as commander from a victorious battle in northern France. But the most brilliant example—besides the portraits of Immanuel Kant, of Euler the mathematician, of Hölderlin, Novalis, Kleist, Edgar Allan Poe, and Hemingway—is still THE picture of Bonaparte from New Year’s Eve, 1799. What I write of here is confined to this face, this brief flicker of hope.“ Alexander Kluge’s Commentary on Napoleon is a study made up of stories, cinematic images, diary entries, and three drawings by Georg Baselitz. Narration as a way of weaving oneself into history. Alexander Kluge, born 1932 in Halberstadt, is a film-maker, writer, TV producer, philosopher, and lawyer. Spector Books has published six of his books in recent years, including The Snows of Venice (with Ben Lerner, 2019) and Parsifal Container (with Georg Baselitz, 2020).

International Book Award in "Women's Issues" Eric Hoffer Award for "Best Culture Book" Eric Hoffer Award for "Best Book Cover" Eric Hoffer Award for "Best Debut Author" Indie Book Award for "Historical Nonfiction" Indie Book Award for "Women's Issues" ForeWord INDIEFAB Award for "Women's Studies" Best Book Award for "Women's Issues" The popular narrative about women's lives in Iran over the last forty years goes something like this: "During the Pahlavi Monarchy, women were on an upward trajectory. In a nation on the cusp of modernity, women actively participated. They were given the right to vote and free to be in public without veils. They wore miniskirts on university campuses. Then came the Islamic Revolution in 1979, with Ayatollah Khomeini at the helm. The burgeoning freedoms for women were extinguished. The veil was required and institutions were segregated by gender. The Islamic Republic had thus achieved its goal of resurrecting the image of the traditional Muslim woman." The problem with popular narratives is that, despite their convenient half-truths, the real story is more complicated, unexpected, and less tidy. Inspired by author Nina Ansary's scholarly journey, Jewels of Allah is a provocative roller coaster ride that shatters the stereotypical assumptions and the often misunderstood story of women in Iran today. Highlighting many courageous female leaders and advocates throughout Iran's history, the book illuminates the unanticipated consequences of the Islamic Revolution and the unexpected twists and turns leading to a full-blown feminist movement within a post-revolutionary patriarchal society. Jewels of Allah is dedicated to every individual oppressed by discriminatory ideology. 100% of all proceeds from the sale of the book will go to charitable organizations and institutions, with the primary recipient being the OMID Foundation, a 501(c)(3) registered organization that has been empowering disadvantaged young women for over 10 years. For more information on the OMID Foundation, please visit the omidfoundation.com.

An unstoppable collection of the most hardcore figures who ever strapped on chain mail and ran screaming into battle Throughout history—from the bone-crushing age of antiquity to the sack-tearing modern era—there have been larger-than-life ass-kickers with a natural talent for unleashing their epic bloodlust on anyone who crossed them. They built empires, smashed armies, and ravaged civilizations for wealth, glory, and ultimate supremacy. Sometimes villains, sometimes heroes, sometimes criminally insane, they had one thing in common: They were all . . . Badass! Chandragupta Maurya An Indian warlord who commanded an army of drunken war elephants and employed an elite detachment of highly trained female bodyguards Peter Francisco An unsung hero of the American Revolution, this powerful giant battled the British with a massive five-foot-long broadsword Wolf the Quarrelsome A mysterious barbarian leader who only appears in history twice—and both times he's kicking someone's ass Bhanbhagta Gurung A fearless Gurkha who won the Victoria Cross by clearing out six Japanese foxholes with nothing more than grenades, a bayonet, and a knife From Alexander the Great to George S. Patton, from Genghis Khan to Bruce Lee, this pantheon of ass-kicking awesomeness should inspire you to quit your stupid job and dive headfirst into a new career as a professional badass.

It's Not About the Burqa is an anthology of frank and insightful essays by Muslim women about the contemporary Muslim female experience. 'Passionate, angry, self-effacing, nuanced and utterly compelling in every single way' - Nikesh Shukla, editor of The Good Immigrant When was the last time you heard a Muslim woman speak for herself without a filter? In 2016, Mariam Khan read that David Cameron had linked the radicalization of Muslim men to the 'traditional submissiveness' of Muslim women. Mariam felt pretty sure she didn't know a single Muslim woman who would describe herself that way. Why was she hearing about Muslim women from people who were neither Muslim, nor female? Years later the state of the national discourse has deteriorated even further, and Muslim women's voices are still pushed to the fringes - the figures leading the discussion are white and male. Taking one of the most politicized and misused words associated with Muslim women and Islamophobia, It's Not About the Burqa is poised to change all that. Here are voices you won't see represented in the national news headlines: seventeen Muslim women speaking frankly about the hijab and wavering faith, about love and divorce, about feminism, queer identity, sex, and the twin threats of a disapproving community and a racist country. With a mix of British and international women writers, from activist Mona Eltahawy's definition of a revolution to journalist and broadcaster Saima Mir telling the story of her experience of arranged marriage, from author Sufiya Ahmed on her Islamic feminist icon to playwright Afshan D'souza-Lodhi's moving piece about her relationship with her hijab, these essays are funny, warm, sometimes sad, and often angry, and each of them is a passionate declaration calling time on the oppression, the lazy stereotyping, the misogyny and the Islamophobia. What does it mean, exactly, to be a Muslim woman in the West today? According to the media, it's all about the burqa. Here's what it's really about. Shortlisted for Foyles Non-Fiction Book of the Year 'Engrossing . . . fascinating . . . courageous' - Observer

THE FIERCEST, MOST POWERFUL RETELLING OF 2025: A STORY OF AMBITION, FEMALE OPPRESSION AND UNSTOPPABLE HUNGER . . . 'Rich and daring. This is everything I dream of in a novel' Ava Reid 'A beguiling feast of a novel' Lucy Rose, author of The Lamb 'I LOVED it' Taylor Jenkins Reid ' Phenomenal' Samantha Shannon FOR WHAT DO YOU HUNGER . . . ? Lenore is the wife of steel magnate Henry, but ten years into their marriage the relationship has soured, and no child has arrived to fill the distance growing between them. Henry's ambitions take them from London to the Peak District, to the remote, imposing Nethershaw estate, where he plans to host a hunting party. Lenore must work to restore the crumbling house and ready it for Henry's guests - their future depends on it. But as the couple travel through the bleak countryside, a shocking carriage accident brings the mysterious Carmilla into Lenore's life. Carmilla, who is weak and pale during the day but vibrant at night, Carmilla who stirs up something deep within Lenore. And before long, girls from the local villages fall sick, consumed by a terrible hunger . . . As the day of the hunt draws closer, Lenore begins to unravel, questioning the role she has been playing all these years. Torn between regaining her husband's affection and the cravings Carmilla has awakened, soon Lenore will uncover a darkness in her household that will place her at terrible risk . . . Set against the violent wilderness of the Peaks and the uncontrolled appetite of the Industrial Revolution, HUNGERSTONE is a compulsive sapphic reworking of CARMILLA, the book that inspired DRACULA: a captivating story of appetite and desire. Everyone is devouring HUNGERSTONE . . . 'An extraordinary book' Jennifer Saint 'Hungerstone grabbed me body and soul' Anya Bergman ' Ravenous, righteous and utterly sublime' Bea Fitzgerald 'Intoxicating and vivid . . . Sensual and vicious' Hannah Kaner 'A true feast for all the senses' Cosmopolitan 'A beguiling and spellbinding story of female repression and appetite' Heat 'A fabulous Gothic feast of a novel ' Elodie Harper

THE FIERCEST, MOST POWERFUL RETELLING OF 2025: A STORY OF AMBITION, FEMALE OPPRESSION AND UNSTOPPABLE HUNGER . . . 'Rich and daring. This is everything I dream of in a novel' Ava Reid 'A beguiling feast of a novel' Lucy Rose, author of The Lamb 'I LOVED it' Taylor Jenkins Reid ' Phenomenal' Samantha Shannon FOR WHAT DO YOU HUNGER . . . ? Lenore is the wife of steel magnate Henry, but ten years into their marriage the relationship has soured, and no child has arrived to fill the distance growing between them. Henry's ambitions take them from London to the Peak District, to the remote, imposing Nethershaw estate, where he plans to host a hunting party. Lenore must work to restore the crumbling house and ready it for Henry's guests - their future depends on it. But as the couple travel through the bleak countryside, a shocking carriage accident brings the mysterious Carmilla into Lenore's life. Carmilla, who is weak and pale during the day but vibrant at night, Carmilla who stirs up something deep within Lenore. And before long, girls from the local villages fall sick, consumed by a terrible hunger . . . As the day of the hunt draws closer, Lenore begins to unravel, questioning the role she has been playing all these years. Torn between regaining her husband's affection and the cravings Carmilla has awakened, soon Lenore will uncover a darkness in her household that will place her at terrible risk . . . Set against the violent wilderness of the Peaks and the uncontrolled appetite of the Industrial Revolution, HUNGERSTONE is a compulsive sapphic reworking of CARMILLA, the book that inspired DRACULA: a captivating story of appetite and desire. Everyone is devouring HUNGERSTONE . . . 'An extraordinary book' Jennifer Saint 'Hungerstone grabbed me body and soul' Anya Bergman ' Ravenous, righteous and utterly sublime' Bea Fitzgerald 'Intoxicating and vivid . . . Sensual and vicious' Hannah Kaner 'A true feast for all the senses' Cosmopolitan 'A beguiling and spellbinding story of female repression and appetite' Heat 'A fabulous Gothic feast of a novel ' Elodie Harper

It's Not About the Burqa is an anthology of frank and insightful essays by Muslim women about the contemporary Muslim female experience. 'Passionate, angry, self-effacing, nuanced and utterly compelling in every single way' - Nikesh Shukla, editor of The Good Immigrant When was the last time you heard a Muslim woman speak for herself without a filter? In 2016, Mariam Khan read that David Cameron had linked the radicalization of Muslim men to the 'traditional submissiveness' of Muslim women. Mariam felt pretty sure she didn't know a single Muslim woman who would describe herself that way. Why was she hearing about Muslim women from people who were neither Muslim, nor female? Years later the state of the national discourse has deteriorated even further, and Muslim women's voices are still pushed to the fringes - the figures leading the discussion are white and male. Taking one of the most politicized and misused words associated with Muslim women and Islamophobia, It's Not About the Burqa is poised to change all that. Here are voices you won't see represented in the national news headlines: seventeen Muslim women speaking frankly about the hijab and wavering faith, about love and divorce, about feminism, queer identity, sex, and the twin threats of a disapproving community and a racist country. With a mix of British and international women writers, from activist Mona Eltahawy's definition of a revolution to journalist and broadcaster Saima Mir telling the story of her experience of arranged marriage, from author Sufiya Ahmed on her Islamic feminist icon to playwright Afshan D'souza-Lodhi's moving piece about her relationship with her hijab, these essays are funny, warm, sometimes sad, and often angry, and each of them is a passionate declaration calling time on the oppression, the lazy stereotyping, the misogyny and the Islamophobia. What does it mean, exactly, to be a Muslim woman in the West today? According to the media, it's all about the burqa. Here's what it's really about. Shortlisted for Foyles Non-Fiction Book of the Year 'Engrossing . . . fascinating . . . courageous' - Observer