Interviews with Lillian Hellman, Agnes de Mille, Margaret Mead, Eleanor Holmes Norton, Ruth Bader Ginsburg, Gloria Steinem, Billie Jean King, Bella Abzug, Diana Vreeland, Julia Child, Sylvia Porter, Alberta Hunter, Elisabeth Kubler-Ross, Barbara Walters, and Betty Friedan, among others.

This text examines the collection of feminist art in the Museum of Modern Art. It features essays presenting a range of generational and cultural perspectives.

Presents biographical profiles of significant women from throughout the history of the world, each with birth and death dates when known, a time line, quotation, and references. Arranged alphabetically from Mek-N.

An orphaned girl is held spellbound by the tales of a lighthouse keeper on the Scottish coast, in a novel by the Costa Award-winning author of The Passion. After her mother is literally swept away by the savage winds off the Atlantic coast of Salts, Scotland, never to be seen again, the orphaned Silver is feeling particularly unmoored. Taken in by the mysterious keeper of a lighthouse on Cape Wrath, Silver finds an anchor in Mr. Pew—blind, as old and legendary as a unicorn, and a yarn spinner of persuasive power. The tale he has to tell Silver is that of a nineteenth-century clergyman named Babel Dark, whose life was divided between a loving light and a mask of deceit. Peopled with such luminaries as Charles Darwin and Robert Louis Stevenson, Mr. Pew’s story within a story within a story soon unfolds like a map. It’s one that Silver must follow if she’s to be led through her own darkness, and to find her own meaning in life, in this novel by a winner of the Costa, Lambda, and E.M. Forster Awards, the author of Oranges are Not the Only Fruit; Why Be Happy When You Could Be Normal? and other acclaimed works. “In her sea-soaked and hypnotic eighth novel, Winterson turns the tale of an orphaned young girl and a blind old man into a fable about love and the power of storytelling…Atmospheric and elusive, Winterson's high-modernist excursion is an inspired meditation on myth and language.”—The New Yorker