Lindy West wasn't always loud. She was once a nerdy, overweight teen who wanted nothing more than to be invisible. Fortunately for women everywhere, along the road she found her voice, and that cripplingly shy girl, who refused to make a sound, somehow grew up to be one of the loudest, shrillest, most fearless feminazis on the internet. Here, she recounts how she went from being the butt of people's jokes, to telling her own brand of jokes - ones that carry with them with a serious message and aren't at someone else's expense.

Shrill is an uproarious memoir, a feminist rallying cry in a world that thinks gender politics are tedious and that women, especially feminists, can't be funny. Coming of age in a culture that demands women be as small, quiet, and compliant as possible -- like a porcelain dove that will also have sex with you -- writer and humoristLindy West quickly discovered that she was anything but. From a painfully shy childhood in which she tried, unsuccessfully, to hide her big body and even bigger opinions; to her public war with stand-up comedians over rape jokes; to her struggle to convince herself, and then the world, that fat people have value; to her accidental activism and never-ending battle royale with Internet trolls, Lindy narrates her life with a blend of humor and pathos that manages to make a trip to the abortion clinic funny and wring tears out of a story about diarrhea. With inimitable good humor, vulnerability, and boundless charm, Lindy boldly shares how to survive in a world where not all stories are created equal and not all bodies are treated with equal respect, and how to weather hatred, loneliness, harassment, and loss, and walk away laughing. Shrill provocatively dissects what it means to become self-aware the hard way, to go from wanting to be silent and invisible to earning a living defending the silenced in all caps.

So much to read, so little time? Each volume in the Worth Books catalog presents a summary and analysis to help you stay informed in a busy world, whether you’re managing your to-read list for work or school, brushing up on business strategies on your commute, preparing to wow at the next book club, or continuing to satisfy your thirst for knowledge. Get ready to be edified, enlightened, and entertained—all in about 30 minutes or less!

In Shrill Hurrahs, Kate Côté Gillin presents a new perspective on gender roles and racial violence in South Carolina during Reconstruction and the decades after the 1876 election of Wade Hampton as governor. In the aftermath of the Civil War, southerners struggled to either adapt or resist changes to their way of life. Gillin accurately perceives racial violence as an attempt by white southern men to reassert their masculinity, weakened by the war and emancipation, and as an attempt by white southern women to preserve their antebellum privileges. As she reevaluates relationships between genders, Gillin also explores relations within the female gender. She has demonstrated that white women often exacerbated racial and gender violence alongside men, even when other white women were victims of that violence. Through the nineteenth century, few bridges of sisterhood were built between black and white women. Black women asserted their rights as mothers, wives, and independent free women in the postwar years, while white women often opposed these assertions of black female autonomy. Ironically even black women participated in acts of intimidation and racial violence in an attempt to safeguard their rights. In the turmoil of an era that extinguished slavery and redefined black citizenship, race, not gender, often determined the relationships that black and white women displayed in the defeated South. By canvassing and documenting numerous incidents of racial violence, from lynching of black men to assaults on white women, Gillin proposes a new view of postwar South Carolina. Tensions grew over controversies including the struggle for land and labor, black politicization, the creation of the Ku Klux Klan, the election of 1876, and the rise of lynching. Gillin addresses these issues and more as she focusses on black women's asserted independence and white women's role in racial violence. Despite the white women's reactionary activism, the powerful presence of black women and their bravery in the face of white violence reshaped southern gender roles forever.

This book will change how readers read not only Milton but any poetry. Whereas prose is written in sentences, poetry is written in lines, lines that may or may not coincide with the syntax of the sentence. Lines add an aural and visual mode of punctuation, with some degree of pause and weight at the line-turn. So lineation, the division of poetry into lines, opens a repertoire of possibilities to the poet. Notably, it encourages an enhanced concentration on meaning, rhythm, and sound. It makes metrical patterns possible, with interactions between regularity and deviation; or it makes possible the presence or absence of structural rhyme; or the multiple variations of the line-turn, whether in harmony with syntax or overflowing, in ways that may be either more or less conspicuous. Starting from theories of Derek Attridge, this book develops new methods for exploring the expressive resources of the verse line as exploited by the greatest of English poets, John Milton. Topics examined include: the interaction of strictness and freedom in the rhythms of Milton's line and paragraph; the interfusion of diverse prosodies in a single poem; approaches to free verse; rhyme in the earlier lyric verse and modes of near-rhyme in the later blank verse; the diverse modes of onomatopoeia; and the complex interweavings of prosody and ideology in this very political poet. The great themes and issues and characters of Milton's innovative and always controversial poetry are perceived afresh, being approached intimately through the rich possibilities of the line, and the insights of the approach illuminate the reading of any poetry.