Gifted pianist and composer, Isabette Greuber is controlled by the social conventions of her time, early nineteenth century Vienna. After she meets and befriends American singer, Amelia Mason, her world opens, but she must learn to reconcile both her duty and her passion.

Then a woman Peyton's never met gives her a plastic bag that has washed up behind her house. The bag contains a note, almost certainly from the doomed flight, with a simple yet wrenching message: T- I love you. All is forgiven. -Dad.

Explores the many ways glam rock paved the way for new explorations of identity in terms of gender, sexuality, and performance

A NEW YORK TIMES BESTSELLER “The fights against hunger, homelessness, poverty, health disparities, poor schools, homophobia, transphobia, and domestic violence are feminist fights. Kendall offers a feminism rooted in the livelihood of everyday women.” —Ibram X. Kendi, #1 New York Times-bestselling author of How to Be an Antiracist, in The Atlantic “One of the most important books of the current moment.”—Time “A rousing call to action... It should be required reading for everyone.”—Gabrielle Union, author of We’re Going to Need More Wine A potent and electrifying critique of today’s feminist movement announcing a fresh new voice in black feminism Today's feminist movement has a glaring blind spot, and paradoxically, it is women. Mainstream feminists rarely talk about meeting basic needs as a feminist issue, argues Mikki Kendall, but food insecurity, access to quality education, safe neighborhoods, a living wage, and medical care are all feminist issues. All too often, however, the focus is not on basic survival for the many, but on increasing privilege for the few. That feminists refuse to prioritize these issues has only exacerbated the age-old problem of both internecine discord and women who rebuff at carrying the title. Moreover, prominent white feminists broadly suffer from their own myopia with regard to how things like race, class, sexual orientation, and ability intersect with gender. How can we stand in solidarity as a movement, Kendall asks, when there is the distinct likelihood that some women are oppressing others? In her searing collection of essays, Mikki Kendall takes aim at the legitimacy of the modern feminist movement, arguing that it has chronically failed to address the needs of all but a few women. Drawing on her own experiences with hunger, violence, and hypersexualization, along with incisive commentary on reproductive rights, politics, pop culture, the stigma of mental health, and more, Hood Feminism delivers an irrefutable indictment of a movement in flux. An unforgettable debut, Kendall has written a ferocious clarion call to all would-be feminists to live out the true mandate of the movement in thought and in deed.

This book presents accounts of creative processes and contextual issues of current-day and early-twentieth century women composers. This collection of essays balances narratives of struggle, artistic prowess, and of "breaking through" the obstacles in the profession. Part I: Creative Work – Then and Now illuminates historical and present-day women’s composition and various iterations and conceptions of the “feminine voice”; Part II: The State of the Industry in the Present Day provides solutions from the frontline to sector inequities; and Part III: Creating; Collaborating: Composer and Performer Reflections offers personal stories of current creation in music. A Century of Composition by Women: Music Against the Odds draws together topical issues in feminist musicology over the past century. This volume provides insight into the professional and compositional procedures of creative women in music and stands to be relevant for composers, performers, industry professionals, students, and feminist and musicological scholars for many years to come.

One of the first works to focus on gender in anthropology, this book remains an important teaching tool on gender and life in the Amazon. Women of the Forest covers Yolanda and Robert Murphy's year of fieldwork among the Mundurucu people of Brazil in 1952, taking into account the historical, ecological, and cultural setting. The book features a new critical foreword written collectively by respected anthropologists who were all students of the Murphys.

The name "Junia" appears in Romans 16:7, and Paul identifies her (along with Andronicus) as "prominent among the apostles." In this important work, Epp investigates the mysterious disappearance of Junia from the traditions of the church. Because later theologians and scribes could not believe (or wanted to suppress) that Paul had numbered a woman among the earliest churches' apostles, Junia's name was changed in Romans to a masculine form. Despite the fact that the earliest churches met in homes and that other women were clearly leaders in the churches (e.g., Prisca and Lydia), calling Junia an apostle seemed too much for the tradition. Epp tracks how this happened in New Testament manuscripts, scribal traditions, and translations of the Bible. In this thoroughgoing study, Epp restores Junia to her rightful place.