First Love: Essays on Friendship is a bracing, intimate essay collection that delves into the power and complexity of female friendship in the wake of violence. Authored by the critically acclaimed Lilly Dancyger, this book emerges from the tragic murder of her cousin Sabina, which profoundly altered her understanding of womanhood and rippled through her closest friendships.

The loss of Sabina, her first love, serves as a catalyst for a bold and refreshing exploration of the connections between women. Dancyger examines the intensity of adolescent best friendships, fluid sexuality, mothering, and chosen family. Each essay is deeply rooted in a significant female friendship from her life, reaching outwards to challenge cultural assumptions about feminine identity and desire, and the ways in which women support one another in a world that often seeks to diminish them.

With seamless integration of personal anecdotes, literature, and pop culture references—from fairytales and true crime to the works of Anaïs Nin and Sylvia Plath, and even the 'sad girls' of Tumblr—Dancyger's essays weave a multifaceted narrative of a life as told through the lens of friendships. This collection is a profound exploration of the essence of loving one another and elevates friendships to the status of love stories, offering them the deep consideration traditionally reserved for romantic relationships.

First Love argues that although friendship cannot shield us from the dangers of the world, the love found within it is always worth the risk. In times of tragedy, Dancyger reminds us, it is our friends who provide the support necessary for survival. Through First Love, the invaluable bonds of friendship are celebrated and given their rightful recognition.

In Dead Weight, Emmeline Clein tells the story of her own disordered eating alongside, and through, other women from history, pop culture and the girls she's known and loved. Tracing the medical and cultural history of anorexia, bulimia, binge eating disorder, and orthorexia, Clein investigates the economic conditions underpinning our eating disorder epidemic, and illuminates the ways racism and today's feminism have been complicit in propping up the thin ideal.

While examining goop, Simone Weil, pro-anorexia blogs, and the flawed logic of our current methods of treatment, Clein also grapples with the myriad ways disordered eating has affected her own friendships and romantic relationships.

Dead Weight makes the case that we are faced with a culture of suppression and denial that is insidious, pervasive, and dangerous, one that internalizes and promotes the fetish of self-shrinking as a core tenet of the American cult of femininity. This is replicated in our algorithms, our television shows, our novels, and our relationships with one another. A sharp, perceptive, and revelatory polemic for readers fascinated by the external forces shaping our lives, Dead Weight is electrifying, unapologetically bold, and fiercely compassionate.

A no-holds-barred guidebook aimed at white women who want to stop being nice and start dismantling white supremacy.

It's no secret that white women are conditioned to be nice, but did you know that the desire to be perfect and to avoid conflict at all costs are characteristics of white supremacy culture?

As the founders of Race2Dinner, an organization which facilitates conversations between white women about racism and white supremacy, Regina Jackson and Saira Rao have noticed white women's tendency to maintain a veneer of niceness, and strive for perfection, even at the expense of anti-racism work.

In this book, Jackson and Rao pose these urgent questions: how has being nice helped Black women, Indigenous women and other women of color? How has being nice helped you in your quest to end sexism? Has being nice earned you economic parity with white men?

Beginning with freeing white women from this oppressive need to be nice, they deconstruct and analyze nine aspects of traditional white woman behavior—from tone-policing to weaponizing tears—that uphold white supremacy society, and hurt all of us who are trying to live a freer, more equitable life.

White Women is a call to action to those of you who are looking to take the next steps in dismantling white supremacy. Your white supremacy. If you are in fact doing real anti-racism work, you will find few reasons to be nice, as other white people want to limit your membership in the club. If you are not ticking white people off on a regular basis, you are not doing it right.

Against White Feminism: Notes on Disruption offers a radically inclusive, intersectional, and transnational approach to the fight for women’s rights. For too long, upper-middle-class white women have been heralded as the 'experts' on feminism, presiding over multinational feminist organizations and writing much of the feminist canon.

Rafia Zakaria, an American Muslim woman, attorney, and political philosopher, champions a reconstruction of feminism in this transformative overview and counter-manifesto. She centers women of color in the dialogue, challenging the global, long-standing affinity of white feminism with colonial, patriarchal, and white supremacist ideals.

Zakaria covers topics like the legacy of the British feminist imperialist savior complex and the condescension of the white feminist-led 'aid industrial complex.' She critiques the conflation of sexual liberation as the 'sum total of empowerment,' following in the tradition of intersectional feminist forebears like Kimberlé Crenshaw, Adrienne Rich, and Audre Lorde.

In this staggering, radical critique, Zakaria refutes and reimagines the apolitical aspirations of white feminist empowerment, placing Black and Brown feminist thought at the forefront.

Writer, director, and producer Justine Bateman examines the aggressive ways that society reacts to the aging of women's faces.

Face: One Square Foot of Skin is a book of fictional vignettes that delves into the fear and evolutionary habits that have led to the belief that older women's faces are unattractive and undesirable.

Based on the experiences of the author and interviews with dozens of women and men, the book explores the root causes of society's negative attitudes toward aging women's faces. Bateman rejects the ingrained assumptions that older women's faces need to be "fixed," and suggests that we move beyond judging a woman's worth based on her face.

With passionate prose and a sharp eye, Bateman argues that a woman's confidence should grow as she ages, not be diminished by society's misguided attitudes about that one square foot of skin.

In this wickedly funny cultural critique, the author of the critically acclaimed memoir and Hulu series Shrill exposes misogyny in the #MeToo era.

This is a witch hunt. We're witches, and we're hunting you.

From the moment powerful men started falling to the #MeToo movement, the lamentations began: this is feminism gone too far, this is injustice, this is a witch hunt. In The Witches Are Coming, firebrand author Lindy West turns that refrain on its head. You think this is a witch hunt? Fine. You've got one.

In a laugh-out-loud, incisive cultural critique, West extolls the world-changing magic of truth, urging readers to reckon with dark lies in the heart of the American mythos, and unpacking the complicated, and sometimes tragic, politics of not being a white man in the twenty-first century. She tracks the misogyny and propaganda hidden (or not so hidden) in the media she and her peers devoured growing up, a buffet of distortions, delusions, prejudice, and outright bullsh*t that has allowed white male mediocrity to maintain a death grip on American culture and politics.

West writes, “We were just a hair’s breadth from electing America’s first female president to succeed America’s first black president. We weren’t done, but we were doing it. And then, true to form—like the Balrog’s whip catching Gandalf by his little gray bootie, like the husband in a Lifetime movie hissing, ‘If I can’t have you, no one can’—white American voters shoved an incompetent, racist con man into the White House.”

We cannot understand how we got here—how the land of the free became Trump's America—without examining the chasm between who we are and who we think we are, without fact-checking the stories we tell ourselves about ourselves and each other. The truth can transform us; there is witchcraft in it. Lindy West turns on the light.

Hood Feminism: Notes from the Women That a Movement Forgot is a potent and electrifying critique of today’s feminist movement, announcing a fresh new voice in black feminism. In her searing collection of essays, Mikki Kendall takes aim at the legitimacy of the modern feminist movement, arguing that it has chronically failed to address the needs of all but a few women.

Mainstream feminists rarely talk about meeting basic needs as a feminist issue, argues Kendall. Issues such as food insecurity, access to quality education, safe neighborhoods, a living wage, and medical care are all feminist issues. All too often, however, the focus is not on basic survival for the many, but on increasing privilege for the few.

Moreover, prominent white feminists broadly suffer from their own myopia with regard to how things like race, class, sexual orientation, and ability intersect with gender. Kendall asks, How can we stand in solidarity as a movement when there is the distinct likelihood that some women are oppressing others?

Drawing on her own experiences with hunger, violence, and hypersexualization, along with incisive commentary on reproductive rights, politics, pop culture, and the stigma of mental health, Hood Feminism delivers an irrefutable indictment of a movement in flux. An unforgettable debut, Kendall has written a ferocious clarion call to all would-be feminists to live out the true mandate of the movement in thought and in deed.

Appalachian Reckoning is a retort, at turns rigorous, critical, angry, and hopeful, to the long shadow cast over the region by J. D. Vance’s Hillbilly Elegy. This collection of essays allows Appalachians to tell their own diverse and complex stories through an imaginative blend of scholarship, prose, poetry, and photography.

The book moves beyond Hillbilly Elegy to provide a deeply personal portrait of Appalachia—a place that is culturally rich and economically distressed, unique and typically American. It complicates simplistic visions that associate the region almost exclusively with death and decay, making clear Appalachia’s intellectual vitality, spiritual richness, and progressive possibilities.

Smart, humorous, and strikingly original thoughts on race, beauty, money, and more—by one of today's most intrepid public intellectuals.

Tressie McMillan Cottom, the writer, professor, and acclaimed author of Lower Ed, now brilliantly shifts gears from running regression analyses on college data to unleashing another identity: a purveyor of wit, wisdom—and of course Black Twitter snark—about all that is right and much that is so very wrong about this thing we call society. In the bestselling tradition of bell hooks and Roxane Gay, McMillan Cottom’s freshman collection illuminates a particular trait of her tribe: being thick. In form, and in substance.

This bold compendium, likely to find its place on shelves alongside Lindy West, Rebecca Solnit, and Maggie Nelson, dissects everything from beauty to Obama to pumpkin spice lattes. Yet Thick will also fill a void on those very shelves: a modern black American female voice waxing poetic on self and society, serving up a healthy portion of clever prose and southern aphorisms in a style uniquely her own.

McMillan Cottom has crafted a black woman’s cultural bible, as she mines for meaning in places many of us miss and reveals precisely how—when you’re in the thick of it—the political, the social, and the personal are almost always one and the same.

"The Loved One" is a delightful and dark satire that swirls together the cultural nuances of America and Britain. The story follows Dennis Barlow, a British expatriate and aspiring poet, who finds himself in the peculiar world of Hollywood.

After a failed stint as a screenwriter, Dennis takes up a job at a pet cemetery, much to the surprise of his fellow British expats. However, the community is soon distracted by the suicide of one of their own, and Dennis is tasked with arranging the funeral.

As the plot unfolds, Dennis enters the artificial paradise of the Whispering Glades Memorial Park, where he meets the beautiful Aimée Thanatogenos, a junior cosmetician, and the master embalmer, Mr. Joyboy. Can Dennis navigate the bizarre world of American-style death rituals and maintain his reputation among his countrymen?

This novel is a savage critique of the Anglo-American cultural divide, depicting a world where love, reputation, and death come at a very high cost. Join Dennis on this hilarious journey through the surreal landscape of Hollywood's funeral industry.

In her comic, scathing essay “Men Explain Things to Me,” Rebecca Solnit took on what often goes wrong in conversations between men and women. She wrote about men who wrongly assume they know things and wrongly assume women don’t, about why this arises, and how this aspect of the gender wars works, airing some of her own hilariously awful encounters.

She ends on a serious note—because the ultimate problem is the silencing of women who have something to say, including those saying things like, “He’s trying to kill me!”

This book features that now-classic essay with six perfect complements, including an examination of the writer Virginia Woolf’s embrace of mystery, of not knowing, of doubt and ambiguity, a highly original inquiry into marriage equality, and a terrifying survey of the scope of contemporary violence against women.

A nameless character. A faceless figure. A disturbing, thought-provoking journey through the facts of the world we live in that we often refuse to acknowledge.

By taking full advantage of their author's lack of identity and extreme levels of introspection, The Unwords unleash a full scale attack on all fronts of cultural and social decay. Education, religion, politics, language, relationships and common every day social activities are stripped down to their bare foundations and deconstructed through the eyes of a man who has rejected any notion of self in his quest for truth and justice.

Written in fluent poetic verse which expands into full-page illustrations that carry the theme into artistic territory, the words blend seamlessly with the arts as they form novel-like chapters; a new, refreshing form of writing known as "Graphic-verse."

Originally published in 2012, The Unwords introduced Graphic-verse to the public and readers quickly embraced this newly created genre. This expanded second edition of The Unwords features 35 pages of additional material, including 54 full color illustrations as well as an introduction by the author himself, revealing his entire creative process, his influences, as well as his motivations and the reasoning behind the book's unusual structure.

Words are meant to be spoken. In a dishonest world, what remains unspoken can only be the truth. In a dishonest world... the pen is never mightier than the sword!

The reference to the Antichrist is not intended to refer to the biblical Antichrist but is rather an attack on the "slave morality" and apathy of Western Christianity. Nietzsche's basic claim is that Christianity is a poisoner of western culture and perversion of the words of and practice of Jesus. Throughout the text, Nietzsche is very critical of institutionalized religion and its priest class, from which he himself was descended.

The majority of the book is a systematic attack upon the interpretations of Christ's words by St. Paul and those who followed him. Nietzsche claimed in the Foreword to have written the book for a very limited readership. In order to understand the book, he asserted that the reader "... must be honest in intellectual matters to the point of hardness to so much as endure my seriousness, my passion." The reader should be above politics and nationalism. Also, the usefulness or harmfulness of truth should not be a concern. Characteristics such as "Strength which prefers questions for which no one today is sufficiently daring; courage for the forbidden" are also needed. He disdained all other readers.

Jonathan Safran Foer spent much of his teenage and college years oscillating between enthusiastic carnivore and occasional vegetarian. On the brink of fatherhood, facing the prospect of having to make dietary choices on a child's behalf, his casual questioning took on an urgency.

His quest for answers required him to visit factory farms in the middle of the night, dissect the emotional ingredients of meals from his childhood, and probe some of his most primal instincts about right and wrong. Eating Animals explores the many fictions we use to justify our eating habits—from folklore to pop culture to family traditions—and how such tales can lull us into a brutal forgetting.

Marked by Foer's profound moral ferocity and unvarying generosity, as well as the vibrant style and creativity that made his previous books widely loved, Eating Animals is a celebration and a reckoning, a story about the stories we've told—and the stories we now need to tell.

Americans are a "positive" people—cheerful, optimistic, and upbeat: This is our reputation as well as our self-image. But more than a temperament, being positive, we are told, is the key to success and prosperity.

In this utterly original take on the American frame of mind, Barbara Ehrenreich traces the strange career of our sunny outlook from its origins as a marginal nineteenth-century healing technique to its enshrinement as a dominant, almost mandatory, cultural attitude. Evangelical mega-churches preach the good news that you only have to want something to get it, because God wants to "prosper" you. The medical profession prescribes positive thinking for its presumed health benefits. Academia has made room for new departments of "positive psychology" and the "science of happiness." Nowhere, though, has bright-siding taken firmer root than within the business community, where, as Ehrenreich shows, the refusal even to consider negative outcomes—like mortgage defaults—contributed directly to the current economic crisis.

With the myth-busting powers for which she is acclaimed, Ehrenreich exposes the downside of America’s penchant for positive thinking: On a personal level, it leads to self-blame and a morbid preoccupation with stamping out “negative” thoughts. On a national level, it’s brought us an era of irrational optimism resulting in disaster.

This is Ehrenreich at her provocative best—poking holes in conventional wisdom and faux science, and ending with a call for existential clarity and courage.

In the last thirty years, the big pharmaceutical companies have transformed themselves into marketing machines selling dangerous medicines as if they were Coca-Cola or Cadillacs. They pitch drugs with video games and soft cuddly toys for children; promote them in churches and subways, at NASCAR races and state fairs. They've become experts at promoting fear of disease, just so they can sell us hope.

No question: drugs can save lives. But the relentless marketing that has enriched corporate executives and sent stock prices soaring has come with a dark side. Prescription pills taken as directed by physicians are estimated to kill one American every five minutes. And that figure doesn't reflect the damage done as the overmedicated take to the roads.

Our Daily Meds connects the dots for the first time to show how corporate salesmanship has triumphed over science inside the biggest pharmaceutical companies and, in turn, how this promotion-driven industry has taken over the practice of medicine and is changing American life. It is an ageless story of the battle between good and evil, with potentially life-changing consequences for everyone, not just the 65 percent of Americans who unscrew a prescription cap every day.

An industry with the promise to help so many is now leaving a legacy of needless harm.

A bitingly funny grand tour of our culture of excess from an award-winning humorist. Whether David Rakoff is contrasting the elegance of one of the last flights of the supersonic Concorde with the good-times-and-chicken-wings populism of Hooters Air; working as a cabana boy at a South Beach hotel; or traveling to a private island off the coast of Belize to watch a soft-core video shoot—where he is provided with his very own personal manservant—rarely have greed, vanity, selfishness, and vapidity been so mercilessly skewered.

Somewhere along the line, our healthy self-regard has exploded into obliterating narcissism; our manic getting and spending have now become celebrated as moral virtues. Simultaneously a Wildean satire and a plea for a little human decency, Don’t Get Too Comfortable shows that far from being bobos in paradise, we’re in a special circle of gilded-age hell.

Meet the Female Chauvinist Pig – the new brand of "empowered woman" who embraces "raunch culture" wherever she finds it. In her groundbreaking book, New York magazine writer Ariel Levy argues that, if male chauvinist pigs of years past thought of women as pieces of meat, Female Chauvinist Pigs of today are doing them one better, making sex objects of other women – and of themselves.

Irresistibly witty and wickedly intelligent, Female Chauvinist Pigs makes the case that the rise of raunch does not represent how far women have come; it only proves how far they have left to go.

In this passionate report from the front lines, Ariel Levy examines the enormous cultural impact of the newest wave of post-feminism. She interviews college women who flash for the cameras on spring break and teens raised on Paris Hilton and breast implants. Levy examines a culture in which every music video seems to feature a stripper on a pole, the memoirs of porn stars are climbing the bestseller lists, Olympic athletes parade their Brazilian bikini waxes in the pages of Playboy, and thongs are marketed to prepubescent girls.

Levy meets the high-powered women who create raunch culture—the new oinking women warriors of the corporate and entertainment worlds who eagerly defend their efforts to be “one of the guys.” And she traces the history of this trend back to conflicts between the women’s movement and the sexual revolution long left unresolved. Levy pulls apart the myth of the Female Chauvinist Pig and argues that what has come to pass for liberating rebellion is actually a kind of limiting conformity.