WITH A NEW CHAPTER WRITTEN SPECIFICALLY FOR THE RELEASE OF THE EBOOK From women’s rights, voting and abortion to same-sex marriage, the climate crisis, commercial surrogacy, Black Lives Matter and LGBTQ rights to the gender self-identity movement. From an outspoken feminist, a leader of the Women's Movement in the 1960s and '70s—a candid, wide-ranging and deeply personal memoir that is, as well, an illuminating historical document of a time and a fight for profound societal change. Brenda Feigen has lived many lifetimes within one—lawyer, wife and mother, civil rights activist, politician, Hollywood movie producer—and in each she has faced down the specter of discrimination against women. She describes how at Harvard Law School she fought to change blatantly sexist practices such as Ladies' Days and quotas on women set by law-firm interviewers; how she waged battles for women as National Vice President of NOW; how, with Gloria Steinem, she founded Ms. and cofounded the National Women's Political Caucus in the early 1970s; how she became director with Ruth Bader Ginsburg of the ACLU's Women's Rights Project in 1972, as well as its spinoff, the Reproductive Freedom Rights Project; and how, in Hollywood, she met obstacles at every turn while fighting for movies with strong, positive roles for women. She describes, as well, the struggles and triumphs of her private life: her marriage (she and her husband were once considered "the perfect feminist couple"); being a (feminist) mother; her relationships with women; her breast cancer. She chronicles recent advances and losses in the Women's Movement, making clear how far women have come (5.2 million people marched for their rights in 2017), and how far they have yet to go to overcome, for example, the Supreme Court’s now open hostility to abortion rights. And, in a moving and stunning new chapter, Feigen writes of the fight for same-sex marriage that started with DOMA and ended in 2015 with the Supreme Court case that fully granted marriage rights to same-sex couples. She writes further, and in-depth, of her work and friendship with Ruth Bader Ginsburg and Ginsburg’s prescient concerns about Roe v. Wade, as well as her recent contributions to the Court, including her many dissents of the past two decades, among them the voting rights case, the partial birth abortion case and the Hobby Lobby case that removed contraceptive rights for many working women. And finally, Feigen writes of her concerns that the gender self-identity movement has overwhelmed priorities of civil rights groups that recently won the fight for same-sex marriage and shows how that movement conflicts with the progress feminists must continue to make for women’s rights, particularly in sports. Despite a disturbing wave of right-wing attacks on reproductive rights from state legislatures and the U.S. Supreme Court, she signs off, optimistic about the resurgence of feminist consciousness displayed in on-going world-wide protests and marches.

"A ... debut about two young brothers and their physically and psychologically abusive father"--

Female-to-male crossdressing became all the rage in the variety shows of nineteenth-century America and began as the domain of mature actresses who desired to extend their careers. These women engaged in the kinds of raucous comedy acts usually reserved for men. Over time, as younger women entered the specialty, the comedy became less pointed and more centered on the celebration of male leisure and fashion. Gillian M. Rodger uses the development of male impersonation from the early nineteenth century to the early twentieth century to illuminate the history of the variety show. Exploding notions of high- and lowbrow entertainment, Rodger looks at how both performers and forms consistently expanded upward toward respectable—and richer—audiences. At the same time, she illuminates a lost theatrical world where women made fun of middle-class restrictions even as they bumped up against rules imposed in part by audiences. Onstage, the actresses' changing performance styles reflected gender construction in the working class and shifts in class affiliation by parts of the audiences. Rodger observes how restrictive standards of femininity increasingly bound male impersonators as new gender constructions allowed women greater access to public space while tolerating less independent behavior from them.