This novel was the major inspiration for the Women's Movement and continues to be a powerful and illuminating analysis of the position of women in Western society___

A sensation upon its publication in 1970, Sexual Politics documents the subjugation of women in great literature and art. Kate Millett's analysis targets four revered authors—D. H. Lawrence, Henry Miller, Norman Mailer, and Jean Genet—and builds a damning profile of literature's patriarchal myths and their extension into psychology, philosophy, and politics. Her eloquence and popular examples taught a generation to recognize inequities masquerading as nature and proved the value of feminist critique in all facets of life. This new edition features the scholar Catharine A. MacKinnon and the New Yorker correspondent Rebecca Mead on the importance of Millett's work to challenging the complacency that sidelines feminism.

In 1970, ABC, CBS, and NBC--the “Big Three” of the pre-cable television era--discovered the feminist movement. From the famed sit-in at Ladies’ Home Journal to multi-part feature stories on the movement's ideas and leaders, nightly news broadcasts covered feminism more than in any year before or since, bringing women's liberation into American homes. In Watching Women's Liberation, 1970: Feminism's Pivotal Year on the Network News, Bonnie J. Dow uses case studies of key media events to delve into the ways national TV news mediated the emergence of feminism's second wave. First legitimized as a big story by print media, the feminist movement gained broadcast attention as the networks’ eagerness to get in on the action was accompanied by feminists’ efforts to use national media for their own purposes. Dow chronicles the conditions that precipitated feminism's new visibility and analyzes the verbal and visual strategies of broadcast news discourses that tried to make sense of the movement. Groundbreaking and packed with detail, Watching Women's Liberation, 1970 shows how feminism went mainstream--and what it gained and lost on the way.

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.

Winner of the 2018 Richard Wall Memorial Award​ from the Theater Library Association Liberating Hollywood examines the professional experiences and creative output of women filmmakers during a unique moment in history when the social justice movements that defined the 1960s and 1970s challenged the enduring culture of sexism and racism in the U.S. film industry. Throughout the 1970s feminist reform efforts resulted in a noticeable rise in the number of women directors, yet at the same time the institutionalized sexism of Hollywood continued to create obstacles to closing the gender gap. Maya Montañez Smukler reveals that during this era there were an estimated sixteen women making independent and studio films: Penny Allen, Karen Arthur, Anne Bancroft, Joan Darling, Lee Grant, Barbara Loden, Elaine May, Barbara Peeters, Joan Rivers, Stephanie Rothman, Beverly Sebastian, Joan Micklin Silver, Joan Tewkesbury, Jane Wagner, Nancy Walker, and Claudia Weill. Drawing on interviews conducted by the author, Liberating Hollywood is the first study of women directors within the intersection of second wave feminism, civil rights legislation, and Hollywood to investigate the remarkable careers of these filmmakers during one of the most mythologized periods in American film history.

The fascinating true story of the characters in Hulu's "Mrs. America" and a broader portrait of the two women's movements that spurred an enduring rift between liberals and conservatives. "The many admirers of 'Mrs. America' . . . will find great satisfaction in [Divided We Stand] . . . a clear, compelling and deeply insightful volume." —The Washington Post One of Smithsonian Magazine’s Ten Best History Books of the Year In the early 1970s, an ascendant women’s rights movement enjoyed strong support from both political parties and considerable success, but was soon challenged by a conservative women’s movement formed in opposition. Tensions between the two would explode in 1977 at the congressionally funded National Women’s Conference in Houston, Texas. As Bella Abzug, Gloria Steinem, and other feminists endorsed hot-button issues such as abortion rights, the ERA, and gay rights, Phyllis Schlafly and Lottie Beth Hobbs rallied with conservative women to protest federally funded feminism and launch a pro-family movement. Divided We Stand reveals how crucial women and women’s issues have been in the shaping of today’s political culture. After the National Women’s Conference, Democrats continued to back women’s rights in cooperation with a more diverse feminist movement while the GOP abandoned its previous support for women’s rights and defined itself as the party of family values, irrevocably affecting the course of American politics.

Inspired by the idealism of the civil rights movement, the women who launched the radical second wave of the feminist movement believed, as a bedrock principle, in universal sisterhood and color-blind democracy. Their hopes, however, were soon dashed. To this day, the failure to create an integrated movement remains a sensitive and contested issue. In The Trouble Between Us, Winifred Breines explores why a racially integrated women's liberation movement did not develop in the United States. Drawing on flyers, letters, newspapers, journals, institutional records, and oral histories, Breines dissects how white and black women's participation in the movements of the 1960s led to the development of separate feminisms. Herself a participant in these events, Breines attempts to reconcile the explicit professions of anti-racism by white feminists with the accusations of mistreatment, ignorance, and neglect by African American feminists. Many radical white women, unable to see beyond their own experiences and idealism, often behaved in unconsciously or abstractly racist ways, despite their passionately anti-racist stance and hard work to develop an interracial movement. As Breines argues, however, white feminists' racism is not the only reason for the absence of an interracial feminist movement. Segregation, black women's interest in the Black Power movement, class differences, and the development of identity politics with an emphasis on "difference" were all powerful factors that divided white and black women. By the late 1970s and early 1980s white feminists began to understand black feminism's call to include race and class in gender analyses, and black feminists began to give white feminists some credit for their political work. Despite early setbacks, white and black radical feminists eventually developed cross-racial feminist political projects. Their struggle to bridge the racial divide provides a model for all Americans in a multiracial society.