Combines recipes with profiles of famous women and the dishes that they inspired the authors to create

Your breath is in my song my song is in your story your story is in my heart my heart is your hands your hands are on my body my body is on your mind your mind is in my spirit my spirit is in your fire your fire is in my life my life My life! My life is on fire!

NEW YORK TIMES BESTSELLER • One million copies sold! “A deeply spiritual book [that] honors what is tough, smart and untamed in women.”—The Washington Post Book World Book club pick for Emma Watson’s Our Shared Shelf Within every woman there lives a powerful force, filled with good instincts, passionate creativity, and ageless knowing. She is the Wild Woman, who represents the instinctual nature of women. But she is an endangered species. For though the gifts of wildish nature belong to us at birth, society’s attempt to “civilize” us into rigid roles has muffled the deep, life-giving messages of our own souls. In Women Who Run with the Wolves, Dr. Clarissa Pinkola Estés unfolds rich intercultural myths, fairy tales, folk tales, and stories, many from her own traditions, in order to help women reconnect with the fierce, healthy, visionary attributes of this instinctual nature. Through the stories and commentaries in this remarkable book, we retrieve, examine, love, and understand the Wild Woman, and hold her against our deep psyches as one who is both magic and medicine. Dr. Estés has created a new lexicon for describing the female psyche. Fertile and life-giving, it is a psychology of women in the truest sense, a knowing of the soul.

Write to Celebrate, Heal, and Free the Wild Woman Within In her years as a writing coach, Judy Reeves has found twin urges in women: they yearn to reclaim a true nature that resides below the surface of daily life and to give it voice. The longing to express this wild, authentic nature is what informs Reeves’s most popular workshop and now this workshop in a book. Here, you will explore the stages that make up your life, from wild child, daughter/sister/mother, and loves and lovers, to creative work, friendships, and how the wise woman encounters death. Both intuitive and practical, Wild Women, Wild Voices responds to women’s deep need for expression with specific and inspiring activities, exercises, and writing prompts. With true empathy, Reeves invites, instructs, and celebrates the authentic expression — even the howl — of the wild in every woman.

For all girls who have ever wanted a pony, the Sisters, Oregon author (The Cowgirl's Cookbook) shares the stories and vintage photographs of women "fancy riders" who have participated in Wild West shows and rodeos since the early 1900s. Stanford includes a glossary of trick-riding terms, websites "where cowgirls go to shop," a list of rodeos and fairs in North America, and suggested further reading.

In 1957, Duke Ellington released the influential album A Drum Is a Woman. This musical allegory revealed the implicit truth about the role of women in jazz discourse—jilted by the musician and replaced by the drum. Further, the album’s cover displays an image of a woman sitting atop a drum, depicting the way in which the drum literally obscures the female body, turning the subject into an object. This objectification of women leads to a critical reading of the role of women in jazz music: If the drum can take the place of a woman, then a woman can also take the place of a drum. The Drum Is a Wild Woman: Jazz and Gender in African Diaspora Literature challenges that image but also defines a counter-tradition within women’s writing that involves the reinvention and reclamation of a modern jazz discourse. Despite their alienation from bebop, women have found jazz music empowering and have demonstrated this power in various ways. The Drum Is a Wild Woman explores the complex relationship between women and jazz music in recent African diasporic literature. The book examines how women writers from the African diaspora have challenged and revised major tropes and concerns of jazz literature since the bebop era in the mid-1940s. Black women writers create dissonant sounds that broaden our understanding of jazz literature. By underscoring the extent to which gender is already embedded in jazz discourse, author Patricia G. Lespinasse responds to and corrects narratives that tell the story of jazz through a male-centered lens. She concentrates on how the Wild Woman, the female vocalist in classic blues, used blues and jazz to push the boundaries of Black womanhood outside of the confines of respectability. In texts that refer to jazz in form or content, the Wild Woman constitutes a figure of resistance who uses language, image, and improvisation to refashion herself from object to subject. This book breaks new ground by comparing the politics of resistance alongside moments of improvisation by examining recurring literary motifs—cry-and-response, the Wild Woman, and the jazz moment—in jazz novels, short stories, and poetry, comparing works by Ann Petry, Gayl Jones, Toni Morrison, Paule Marshall, Edwidge Danticat, and Maya Angelou with pieces by Albert Murray, Ralph Ellison, James Baldwin, and Ellington. Within an interdisciplinary and transnational context, Lespinasse foregrounds the vexed negotiations around gender and jazz discourse.