With its challenge to nearly every facet of Australian society and culture, the Australian women's movement has achieved much in a short period of time. And it has attracted controversy: fiery denunciation and equally passionate loyalty. This book explores how such a revolutionary social movement remembers its past. The women's movement has always recognised the political importance of history, narrative, and language to changing the way we think, and hence to changing the world. How then does feminism mark its own past times, and what stories does it tell of the campaigns, struggles, defeats, victories, and activists? What is remembered and what is forgotten? How do its narratives of its recent history counter those told by the mainstream culture? By reading novels, film, television, autobiographies, newspaper and magazine articles, and academic histories Marking Feminist Times traces the making of a feminist collective memory: the reasons for its emergence, the shapes taken, and the narratives that recur. And in so doing, this book reveals a feminist collective memory haunted by the early loss of an authentically revolutionary movement.

The Feminism of Uncertainty brings together Ann Snitow’s passionate, provocative dispatches from forty years on the front lines of feminist activism and thought. In such celebrated pieces as "A Gender Diary"—which confronts feminism’s need to embrace, while dismantling, the category of "woman"—Snitow is a virtuoso of paradox. Freely mixing genres in vibrant prose, she considers Angela Carter, Doris Lessing, and Dorothy Dinnerstein and offers self-reflexive accounts of her own organizing, writing, and teaching. Her pieces on international activism, sexuality, motherhood, and the waywardness of political memory all engage feminism’s impossible contradictions—and its utopian hopes.

Shudder-To-Think, Pennsylvania, has been on fire for years. The coal mines beneath it are long since abandoned. The woods are full of rabbits with human eyes, a deer woman who stalks hungry girls, and swaths of skinless men. And the people in Shudder-to-Think? Well, they’re not doing so well either. When El and Octavia wake up in a movie theater with no memory of the last few hours of their lives, the two teenage dirtbags begin a surreal and terrifying journey to discover the truth about the strange town that they call home. Like so many women in Shudder-to-Think before them, all they have is a void where the truth once was. But as time passes, El finds herself needing to know more about what has happened, while Octavia wants nothing more than to forget the forgetting. Can these two teens reconcile their differences before the horrible things lurking beneath their town emerge and swallow them whole? Collects The Low, Low Woods #1-6.

In the gaslit splendor of late 19th-century New York, rage builds inside 14-year-old Daphne. The sudden death of her father has left her alone with her grief-stricken mother who becomes easy prey for a group of occultists promising to contact her dead husband. While fighting to disentangle her mother from these charlatans, Daphne begins to sense a strange, insidious presence in her own body...an entity with unspeakable appetites. What does “Brother” want? And could Daphne stop him even if she tried? Writer Laura Marks (TV’s Ray Donovan, The Expanse, and The Good Fight) and horror comics legend Kelley Jones (The Sandman, Batman: Red Rain) join forces to unleash spirits from beyond into DC’s Hill House Comics, curated by Joe Hill!

The 1970s was a decade when matters previously considered private and personal became public and political. These shifts not only transformed Australian politics, they engendered far-reaching cultural and social changes. Feminists challenged ‘man-made’ norms and sought to recover lost histories of female achievement and cultural endeavour. They made films, picked up spanners and established printing presses. The notion that ‘the personal was political’ began to transform long-held ideas about masculinity and femininity, both in public and private life. In the spaces between official discourses and everyday experience, many sought to revolutionise the lives of Australian men and women. Everyday Revolutions brings together new research on the cultural and social impact of the feminist and sexual revolutions of the 1970s in Australia. Gay Liberation and Women’s Liberation movements erupted, challenging almost every aspect of Australian life. The pill became widely available and sexuality was both celebrated and flaunted. Campaigns to decriminalise abortion and homosexuality emerged across the country. Activists set up women’s refuges, rape crisis centres and counselling services. Governments responded to new demands for representation and rights, appointing women’s advisors and funding new services. Everyday Revolutions is unique in its focus not on the activist or legislative achievements of the women’s and gay and lesbian movements, but on their cultural and social dimensions. It is a diverse and rich collection of essays that reminds us that women’s and gay liberation were revolutionary movements.

The October 2008 Cultural Studies Review is a special issue focusing on cultures of panic, particularly recent examples of moral panic arising from issues of race, gender and sexuality. The diverse essays deal with 'men of Middle Eastern appearance', the trial of Private Kovko, the aftermath of Hurricane Katrina, the use of Ritalin, concerns around children and sexuality in Australia, and arts funding in the United States during the 'culture wars'. The moral panic has centrally to do with the behaviour of crowds, particularly the virtual crowds created by the mass media. It's a mechanism of expulsion, and thus at the same time of group solidarity. It's also a particularly powerful genre of the tabloid media: in its identification and shaming of deviant social groups it rigidly defines and reinforces moral norms, and is complicit with political strategies of consolidation and othering which create and depend on a sense of horror at refugees who wilfully throw their children overboard or push in to the front of the 'queue', at paedophiles grooming children over the internet, at drug-crazed criminals and bingeing teenagers... The challenge is to move beyond the realisation that moral panics are not rationally constructed to an analysis of the passional bases of the social order, and to an understanding of how our politics might deal with this without itself falling into the contagion of panic. The diverse collection of essays gathered together in this edition takes up that challenge.

This book examines evolving pop culture representations of sex and relationships from the 1970s onwards, to demonstrate parallels between the strength of the feminist movement and positive portrayals of women’s sexuality. In charting changes in the sex and relationship content of women’s magazines over time, this analysis reveals that despite surface-level changes in sexual and relationship content, the underlying paradigm of hetero-monogamy remains unchanged. Despite a seemingly more diverse, empowered and liberated sexuality for women in contemporary magazines, in reality, such feminist rhetoric masks an enduring model of sexuality, which rests on women’s sexual and emotional maintenance of male partners and their own self-objectification and self-surveillance. Where substantive changes can be identified, they rise and fall in tandem with feminism. By demonstrating this empirical relationship between cultural products and feminist organising, the book validates an assumption that has rarely been tested: that a feminist social milieu improves cultural narratives about sexuality for women. Sex, Feminism and Lesbian Desire builds on ground-breaking feminist texts such as Susan Faludi’s Backlash to present an empirically focused, comprehensive study interrogating changes in content over the lifetime of women’s magazines. By charting the representation of sex and relationships in two women’s magazines—Cosmopolitan and Cleo—since the 1970s through an analysis of over 6,500 magazine pages and 1,500 articles, this timely work interrogates—and ultimately complicates—the apparent linear progression of feminism. This book is suitable for researchers and students in women’s and gender studies, queer studies, LGBT studies, media studies, cultural studies and sociology.