This “incredible addition to the feminist canon” brings together the most inspiring, creative, and courageous voices concerning modern women’s issues (Jessica Valenti, editor of Yes Means Yes). In this groundbreaking collection, more than fifty cutting-edge feminist writers—including Melissa Harris-Perry, Janet Mock, Sheila Heti, and Mia McKenzie—invite us to imagine a world of freedom and equality in which: An abortion provider reinvents birth control . . . The economy values domestic work . . . A teenage rock band dreams up a new way to make music . . . The Constitution is re-written with women’s rights at the fore . . . The standard for good sex is raised with a woman’s pleasure in mind . . . The Feminist Utopia Project challenges the status quo that accepts inequality and violence as a given, “offering playful, earnest, challenging, and hopeful versions of our collective future in the form of creative nonfiction, fiction, visual art, poetry, and more” (Library Journal).

The utopias envisioned by Edward Bellamy and other novelists late in the nineteenth century were generally blueprints of government. As satellites of men, women were expected to share in the general improvement of society. The resurgence of the feminist movement since the late 1960s has produced a very different kind of utopian literature. Frances Bartkowski explores a body of work that is striking and vital because it reflects the hopes, fears, and desires of women who have glimpsed the possibilities of a bright new world freed from stifling patriarchal structures. Feminist Utopias is a comparative study of the utopian fiction of nine women writers in the United States, France, and Canada. Except for Charlotte Perkins Gilman's Herland (1915), the prototype for feminist literary utopias, all of the works were published between 1969 and 1986. Bartkowski discusses Monique Wittig's Les Guérillères, Joanna Russ's The Female Man, Marge Piercy's Woman on the Edge of Time, Suzy McKee Charnas's Motherlines, Christine Rochefort's Archaos, ou le jardin étincelant, E. M. Broner's A Weave of Women, Louky Bersianik's The Eugelionne, and two dystopian novels, Charnas's Walk to the End of the World and Margaret Atwood's The Handmaid’s Tale.

A new and challenging entry into the debates between feminism and postmodernism, Contemporary Feminist Utopianism challenges some basic preconceptions about the role of political theory today. Sargisson explores current debates within utopian studies, feminist theory and poststructuralist deconstruction. Utopian thinking is offered as a route out of the dilemma of contemporary feminism as well as a way of conceptualizing its current situation. This book provides an exploration of, and exercise in, utopian thought.

NOW A MAJOR MOTION PICTURE • Set in the near-future, Into the Forest is a powerfully imagined novel that focuses on the relationship between two teenage sisters living alone in their Northern California forest home. Over 30 miles from the nearest town, and several miles away from their nearest neighbor, Nell and Eva struggle to survive as society begins to decay and collapse around them. No single event precedes society's fall. There is talk of a war overseas and upheaval in Congress, but it still comes as a shock when the electricity runs out and gas is nowhere to be found. The sisters consume the resources left in the house, waiting for the power to return. Their arrival into adulthood, however, forces them to reexamine their place in the world and their relationship to the land and each other. Reminiscent of Margaret Atwood's A Handmaid's Tale, Into the Forest is a mesmerizing and thought-provoking novel of hope and despair set in a frighteningly plausible near-future America. Praise for Into the Forest “[A] beautifully written and often profoundly moving novel.”—San Francisco Chronicle “A work of extraordinary power, insight and lyricism, Into the Forest is both an urgent warning and a passionate celebration of life and love.”—Riane Eisler, author of The Chalice and the Blade “From the first page, the sense of crisis and the lucid, honest voice of the . . . narrator pull the reader in. . . . A truly admirable addition to a genre defined by the very high standards of George Orwell's 1984.”—Publishers Weekly (starred review) “Beautifully written.”—Kirkus Reviews “This beautifully written story captures the essential nature of the sister bond: the fierce struggle to be true to one’s own self, only to learn that true strength comes from what they are able to share together.”—Carol Saline, co-author of Sisters “Jean Hegland’s sense of character is firm, warm, and wise. . . . [A] fine first novel.”—John Keeble, author of Yellowfish

No human society has ever been perfect, a fact that has led thinkers as far back as Plato and St. Augustine to conceive of utopias both as a fanciful means of escape from an imperfect reality and as a useful tool with which to design improvements upon it. The most studied utopias have been proposed by men, but during the eighteenth century a group of reform-oriented female novelists put forth a series of work that expressed their views of, and their reservations about, ideal societies. In Women's Utopias of the Eighteenth Century, Alessa Johns examines the utopian communities envisaged by Mary Astell, Sarah Fielding, Mary Hamilton, Sarah Scott, and other writers from Britain and continental Europe, uncovering the ways in which they resembled--and departed from--traditional utopias. Johns demonstrates that while traditional visions tended to look back to absolutist models, women's utopias quickly incorporated emerging liberal ideas that allowed far more room for personal initiative and gave agency to groups that were not culturally dominant, such as the female writers themselves. Women's utopias, Johns argues, were reproductive in nature. They had the potential to reimagine and perpetuate themselves.

At their best, both American pragmatism and utopianism are about hope. Both encourage people to think about the future as a guide to understanding the past and forming the present. Just as pragmatism has often been misunderstood as valueless instrumentalism, utopianism has been limited to dreams of a static perfect world. In this book, Erin McKenna argues that utopian vision informed by pragmatism results in a process model of utopia that can help form the future based on critical intelligence. Using John Dewey's works with feminist theory and literature, McKenna develops this pragmatist feminist model of utopia.

Provides an incisive account of women’s porn and queer porn of the 1980s and 1990s. Explicit Utopias explores a problem that has long haunted feminist, lesbian, and queer critics: the obstacles to imagining women’s desire and sexual agency. Pornography is one arena in which women have actively sought to imaginatively overcome this problem, yet pornography has also been an object of passionate feminist contention. Revisiting the feminist sex wars of the 1980s, Amalia Ziv offers a comprehensive and thoughtful reassessment of the arguments and concerns of both camps, tying these early debates to the contemporary surge of concern over the pornification of culture. She also sets out to rectify the lack of critical attention to marginal sexual representations by examining the feminist, queer, and psychoanalytic literature on several key issues, including fantasy, the phallus, identification, and gender performativity.