An intimate look at the transformative power of women's sexual experiences. Based on the stories of ordinary American women, Aphrodite’s Daughters explores the central role of sexuality in women's spiritual journey. Witty, wise, entertaining, and compassionate, Aphrodite's Daughters quickly became an underground classic, and has changed the lives of thousands of women.

The Harlem Renaissance was a watershed moment for racial uplift, poetic innovation, sexual liberation, and female empowerment. Aphrodite’s Daughters introduces us to three amazing women who were at the forefront of all these developments, poetic iconoclasts who pioneered new and candidly erotic forms of female self-expression. Maureen Honey paints a vivid portrait of three African American women—Angelina Weld Grimké, Gwendolyn B. Bennett, and Mae V. Cowdery—who came from very different backgrounds but converged in late 1920s Harlem to leave a major mark on the literary landscape. She examines the varied ways these poets articulated female sexual desire, ranging from Grimké’s invocation of a Sapphic goddess figure to Cowdery’s frank depiction of bisexual erotics to Bennett’s risky exploration of the borders between sexual pleasure and pain. Yet Honey also considers how they were united in their commitment to the female body as a primary source of meaning, strength, and transcendence. The product of extensive archival research, Aphrodite’s Daughters draws from Grimké, Bennett, and Cowdery’s published and unpublished poetry, along with rare periodicals and biographical materials, to immerse us in the lives of these remarkable women and the world in which they lived. It thus not only shows us how their artistic contributions and cultural interventions were vital to their own era, but also demonstrates how the poetic heart of their work keeps on beating.

In this fascinating book, Hubbell journeys into the remarkable lives of the little-known creatures that really run the world--the animals without backbones, including one of the most elusive and enigmatic of all, "Aphrodite" the sea mouse.

From villages in Crete to Carolina farms to San Francisco pavement, the women in these poems struggle to live by their own lights, despite pressure for them to serve as mere appendages to men. Aphrodite's Daughter tells stories of women in myth, history, art, and contemporary life. The goddess's daughter, fed up with her role in her mother's story, says to her: "i'm leaving--i'm walking out/of your myth finally--i need a mother not a love goddess. . . . " This volume springs from the sense that, as Adrienne Rich reminds us, under patriarchy women often feel "wildly unmothered."

Aphrodite, determined to prove she is more than just a pretty face, investigates the mysterious disappearance of demigods from cruise ships.

Greek women routinely wore the veil. That is the unexpected finding of this meticulous study, one with interesting implications for the origins of Western civilisation. The Greeks, popularly (and rightly) credited with the invention of civic openness, are revealed as also part of a more Eastern tradition of seclusion. Llewellyn-Jones' work proceeds from literary and, notably, from iconographic evidence. In sculpture and vase painting it demonstrates the presence of the veil, often covering the head, but also more unobtrusively folded back onto the shoulders. This discreet fashion not only gave a priviledged view of the face to the ancient art consumer, but also, incidentally, allowed the veil to escape the notice of traditional modern scholarship. From Greek literary sources, the author shows that full veiling of the head and face was commonplace. He analyses the elaborate Greek vocabulary for veiling and explores what the veil meant to achieve. He shows that the veil was a conscious extension of the house and was often referred to as `tegidion', literally `a little roof'. Veiling was thus an ingeneous compromise; it allowed women to circulate in public while mainting the ideal of a house-bound existence. Alert to the different types of veil used, the author uses Greek and more modern evidence (mostly from the Arab world) to show how women could exploit and subvert the veil as a means of eloquent, sometimes emotional, communication. First published in 2003 and reissued as a paperback in 2010, Llewellyn-Jones' book has established itself as a central - and inspiring - text for the study of ancient women.

According to the author, ecstasy is the spiritual food that nourishes the soul. She believes that many of society's problems--anorexia, depression, violence, drug addiction--exist because people do not know how to truly experience love and ecstasy in life. With anecdotes, examples, and exercises, Bonheim shows readers how to infuse their own lives with passion.