"The 14 chapters posit a regendering of revolutionary poetics, which is accomplished by reworking concepts such as '(new)man,' 'woman,' and 'subaltern.' The predictability of Rodrâiguez's arguments and dated historical referents do not detract from solidanalyses, like those in chapter eight regarding Mario Roberto Morales' 'El esplendor de la pirâamide' and those in the next chapter on Oreamuno's 'La ruta de su evasiâon.' The author focuses on her strength - narratives from Cuba and her native Nicaragua"--Handbook of Latin American Studies, v. 58.

"[A] tart, funny, lurid little bomb of a book. It's all p.c., of course, but not at all predictable, and a lot of righteous information gets dispersed in record time." -- BUST Magazine We were Guerillas before we were Gorillas. From the beginning, the press wanted publicity photos. We needed a disguise. No one remembers, for sure, how we got our fur, but one story is that at an early meeting, an original Girl, a bad speller, wrote 'Gorilla' instead of 'Guerilla.' It was an enlightening mistake. It gave us our mask-ulinity. Ever wonder about the abundance of naked male statues in the Classical section of your favorite museum? Did you know medieval convents were hotbeds of female artistic expression? And how did those "bad boy" artists of the twentieth century make it even harder for a girl to get a break? Thanks to the Guerrilla Girls, those masked feminists whose mission it is to break the white male stronghold over the art world, art history--as we know it--is history. Taking you back through the ages, the Guerrilla Girls demonstrate how males (particularly white males) have dominated the art scene, and discouraged, belittled, or obscured women's involvement. Their skeptical and hilarious interpretations of "popular" theory are augmented by the newest research and the expertise of prominent feminist art historians. "Believe-it-or-not" quotations from some of the "experts" are sprinkled throughout, as are the Guerrilla Girls' signature masterpieces: reproductions of famous art works, slightly "altered" for historic accuracy and vindication. This colorful reinterpretation of classic and modern art, as outrageous as it is visually arresting, is a much-needed corrective to traditional art history, and an unabashed celebration of female artists.

"The 14 chapters posit a regendering of revolutionary poetics, which is accomplished by reworking concepts such as '(new)man,' 'woman,' and 'subaltern.' The predictability of Rodrâiguez's arguments and dated historical referents do not detract from solidanalyses, like those in chapter eight regarding Mario Roberto Morales' 'El esplendor de la pirâamide' and those in the next chapter on Oreamuno's 'La ruta de su evasiâon.' The author focuses on her strength - narratives from Cuba and her native Nicaragua"--Handbook of Latin American Studies, v. 58.

The revolutionary movements that emerged frequently in Latin America over the past century promoted goals that included overturning dictatorships, confronting economic inequalities, and creating what Cuban revolutionary hero Che Guevara called the "new man." But, in fact, many of the "new men" who participated in these movements were not men. Thousands of them were women. This book aims to show why a full understanding of revolutions needs to take account of gender. Karen Kampwirth writes here about the women who joined the revolutionary movements in Nicaragua, El Salvador, and the Mexican state of Chiapas, about how they became guerrillas, and how that experience changed their lives. In the last chapter she compares what happened in these countries with Cuba in the 1950s, where few women participated in the guerrilla struggle. Drawing on more than two hundred interviews, Kampwirth examines the political, structural, ideological, and personal factors that allowed many women to escape from the constraints of their traditional roles and led some to participate in guerrilla activities. Her emphasis on the experiences of revolutionaries adds a new dimension to the study of revolution, which has focused mainly on explaining how states are overthrown.

Guerrilla Girls: The Art of Behaving Badly is the first book to catalog the entire career of the Guerrilla Girls from 1985 to present. The Guerrilla girls are a collective of political feminist artists who expose discrimination and corruption in art, film, politics, and pop culture all around the world. This book explores all their provocative street campaigns, unforgettable media appearances, and large-scale exhibitions. • Captions by the Guerrilla Girls themselves contextualize the visuals. • Explores their well-researched, intersectional takedown of the patriarchy In 1985, a group of masked feminist avengers—known as the Guerrilla Girls—papered downtown Manhattan with posters calling out the Museum of Modern Art for its lack of representation of female artists. They quickly became a global phenomenon, and the fearless activists have produced hundreds of posters, stickers, and billboards ever since. • More than a monograph, this book is a call to arms. • This career-spanning volume is published to coincide with their 35th anniversary. • Perfect for artists, art lovers, feminists, fans of the Guerrilla Girls, students, and activists • You'll love this book if you love books like Wall and Piece by Banksy, Why We March: Signs of Protest and Hope by Artisan, and Graffiti Women: Street Art from Five Continents by Nicholas Ganz

"The Luckiest Guerrilla" tells the remarkable, enchanting story of Philippines survivor Colonel Arthur Philip Murphy. Relying extensively on letters from Arthur and his wife Lillian, their daughter Patricia has penned an engrossing World War II narrative that is both a historical treasure chest and captivating on a personal level.Only ten hours after the Japanese bombed Pearl Harbor, they also bombed Luzon, Philippines. Ten days later enemy troops swarmed ashore, bent on swiftly annihilating General MacArthur's ill-prepared defenses, commandeering the country's natural resources, and subjugating its people.By pure happenstance, Murphy avoided the pitiful surrender to the Japanese of 70,000-plus Fil-American troops there in April 1942, and he avoided the infamous Bataan Death March that resulted in the deaths of thousands. Instead, he opted to defy the surrender order and, with three companions, take his chances in the Igorot mountain country.An obstinate, outspoken rebel, incurable romantic, amateur philosopher, and stoic executioner, Murphy was never captured, never wounded. He not only survived for three years behind enemy lines, he helped create a 22,000-man guerrilla army that harassed the Japanese, provided invaluable intelligence to MacArthur's island-hopping army, and played a significant role in the battles fought during the waning months of the war, all while cultivating and maintaining, by whatever means necessary, continued support and loyalty among the Igorot headhunters of North Luzon.

Upheld current sex and race occupational segregation, assuring the public that women were in the military to do "women's work" within it, and resisting African-American women's protests against their relegation to menial labor. Yet Creating GI Jane is also the story of how, in spite of a palpable climate of repression, many women effectively carved out spaces and seized opportunities in the early WAC. African-American women and men worked together in demanding civil.