Where are the women writers of color? Where are their theoretical voices? The fifteen contributors to Other Sisterhoods examine how women writers of color have contributed to the discourse of literary and cultural theory. They focus on the impact of key issues, such as social construction and identity politics, on the works of women writers of color, as well as how these women deal with differences relating to gender, class, race/ethnicity, and sexuality. The book also explores the ways women writers of color have created their own ethnopoetics within the arena of literary and cultural theory, helping to redefine the nature of theory itself.

Sisters aren’t just super, they’re superheroes in this celebration of friendship and sisterhood by Jenna Bush Hager and Barbara Pierce Bush. Emma has been lonely all her life growing up in a neighborhood with no other kids—until the day two sets of sisters move to her street! The girls immediately form a club, only to discover that something mysterious is going on. They’ve each always had special talents, but when they work together, it's almost like their skills become...superpowers. Now the sisterhood is ready to help their neighborhood thrive, as long as they can keep the spooky Ms. Wigglestoot from discovering their secret. Or maybe there’s a way these super sisters can help their archnemesis too.... From former first daughters Jenna Bush Hager and Barbara Pierce Bush, authors of the #1 New York Times bestselling Sisters First, The Superpower Sisterhood makes it clear that with sisters by your side, life is pretty exciting. And anything is possible!

A beautifully written novel about love, class differences, and betrayal playing out over the course of a fractured American family’s Long Island summer from #1 New York Times bestselling author Ann Brashares, author of the Sisterhood of the Traveling Pants series. “A gorgeously written novel on love, loss and family.” —NICOLA YOON, #1 New York Times bestselling author of Everything, Everything Summer for Sasha and Ray means the sprawling old house on Long Island. Since they were children, they’ve shared almost everything—reading the same books, running down the same sandy footpaths to the beach, eating peaches from the same market, laughing around the same sun-soaked dining table. Even sleeping in the same bed, on the very same worn cotton sheets. But they’ve never met. Sasha’s dad was once married to Ray’s mom, and together they had three daughters: Emma, the perfectionist; Mattie, the beauty; and Quinn, the favorite. But the marriage crumbled and the bitterness lingered. Now there are two new families—and neither one will give up the beach house that holds the memories, happy and sad, of summers past. The choices we make come back to haunt us; the effect on our destinies ripples out of our control . . . or does it? This summer, the lives of Sasha, Ray, and their siblings intersect in ways none of them ever dreamed, in a novel about family relationships, keeping secrets, and most of all, love. ★ “Masterful.” —PW, Starred ★ “A continuous, consistently engrossing narrative . . . deeply moving.” —The Bulletin, Starred “A gorgeous exploration of family, secrets, and love.” —Teen Vogue “You absolutely must read it.” —PopCrush An Amazon Best of the Month Selection A Teen Choice Book Award nominee!

When women were denied a major speaking role at the 1963 March on Washington, Dorothy Height, head of the National Council of Negro Women (NCNW), organized her own women's conference for the very next day. Defying the march's male organizers, Height helped harness the womanpower waiting in the wings. Height's careful tactics and quiet determination come to the fore in this first history of the NCNW, the largest black women's organization in the United States at the height of the civil rights, Black Power, and feminist movements of the 1960s and 1970s. Offering a sweeping view of the NCNW's behind-the-scenes efforts to fight racism, poverty, and sexism in the late twentieth century, Rebecca Tuuri examines how the group teamed with U.S. presidents, foundations, and grassroots activists alike to implement a number of important domestic development and international aid projects. Drawing on original interviews, extensive organizational records, and other rich sources, Tuuri's work narrates the achievements of a set of seemingly moderate, elite activists who were able to use their personal, financial, and social connections to push for change as they facilitated grassroots, cooperative, and radical activism.

Maddie believes herself safe at her prestigious boarding school, until she receives an ominous tarot card in the mail and realizes that she must return to her home town, a community still haunted by the Salem witch trials.

"Contentious behavior among biological sisters frequently contradicts ideals of sisterhood in novels by women. Additionally, feminist criticism, focusing on almost every imaginable relationship involving women, has all but ignored sisters. Amy K. Levin's The Suppressed Sister studies these circumstances, their causes and consequences. How and why is the sister bond suppressed in favor of sisterhood?" "Answers to this question may be found in female psychology, social expectations, and patriarchal myths and stories. The tales of Cinderella and Psyche are paradigmatic, providing models of female competition and inscribing a conclusion that replaces sisterly closeness with heterosexual romance." "Jane Austen's sister plot is based on these models. Her characters divide into pairs and adopt complementary personalities, but polarization does not erase competition; instead, marriage erects social and economic barriers which enforce role divisions." "In Wives and Daughters, Cranford, and The Life of Charlotte Bronte, Elizabeth Gaskell shows the danger of too close an attachment to the paternal home. She, too, emphasizes differences, revealing how they ultimately lead siblings to seek a sisterhood outside the family." "In Mill on the Floss, Middlemarch, and Daniel Deronda, George Eliot paints increasingly negative portraits of sisters, indicating that female siblings create differences where few or none exist. These denials of similarity heighten the heroines' isolation." "Twentieth-century novelists, including Barbara Pym, Elizabeth Jane Howard, and Margaret Drabble, revise their predecessors' texts, drafting a plot "after" the father's. They reject rules governing female behavior and question the expectation that women must get along with one another." "Finally, Emma Tennant's Bad Sister, together with several recent American novels, abandons the conventions of the realistic novel, challenging the very concept of character. Tennant undermines all distinctions, including those that treat sisters as separate individuals and those that classify certain behaviors as "good" or "bad."" "These novels show a progression that has been ignored or suppressed by feminist critics, many of whom long for an idyll of sisterhood inherited from nineteenth-century portraits of the "angel in the house." In denying anger or antagonism, women cut off a part of themselves, just as Cinderella's stepsisters amputate their toes to fit in her brittle glass slipper. Levin's book questions the rationale behind such self-destruction."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved