It always pisses me off when I’m calling in to some Morning Zoo radio show to promote God-only-knows what—probably this book, so get ready, I’m comin’—when the DJ actually tries to convince me that there are as many female comics as male ones. Cue hypermasculine Morning Zoo Hacky McGee voice: “So Kath, I don’t know what you chicks are always complaining about.” To which I respond: “Really? Why don’t you call your local comedy club and ask for the Saturday night lineup? I guarantee you the male to female ratio is going to be about nine to one. You dick-wad.

Within this enclosed women's world, so to say, behind the walls and fortifications of it, I felt the presence of a great ideal, without which the garrison would not have carried on so gallantly; the idea of a Millennium when women were to reign supreme in the world. The old mother at such times would take on a new shape, and sit enthroned as a massive dark symbol of that mighty female deity who had existed in old ages, before the time of the prophet's God. Of her they never lost sight, but they were, before all, practical people with an eye on the needs of the moment and with infinite readiness of resource.

My work has often been described as “chick lit” and for the most part the term doesn’t bother me. I think it simply signals to readers that the book is about women, written for women (although many men enjoy my books), about issues that concern women (relationships, careers, etc.) The only thing that bothers me is when the label is used disparagingly, to imply that all chick lit is, by definition, superficial, beach-read fluff because I believe that this is akin to saying that all women are devoid of substance and the issues that concern us, are fundamentally trivial ones. And I take issue with that.

In a world where positive expressions of sexual longing connect us we will all be free to choose those sexual practices which affirm and nurture our growth. Those practices may range from choosing promiscuity or celibacy, from embracing one specific sexual identity and preference or choosing a roaming uncharted desire that is kindled only by interaction and engagement with specific individuals with whom we feel the spark of erotic recognition no matter their sex, race, class, or even their sexual preference. Radical feminist dialogues about sexuality must surface so that the movement towards sexual freedom can begin again.

You have to question a cinematic culture which preaches artistic expression, and yet would support a decision that is clearly a product of a patriarchy-dominant society, which tries to control how women are depicted on screen. The MPAA is okay supporting scenes that portray women in scenarios of sexual torture and violence for entertainment purposes, but they are trying to force us to look away from a scene that shows a woman in a sexual scenario which is both complicit and complex. It’s misogynistic in nature to try and control a woman’s sexual presentation of self. I consider this an issue that is bigger than this film

You don't have to be a channel for every free choice denied. Every porcelain bride with no property rights, you don't have to prove you can fight like a man, leave the screaming to the lesbians! Feminism is an outdated word, but see there’s still need for women’s movement because we still believe that our sexual power is all we have, we cling to it tighter to it then our own ovaries and we will pluck trust from fellow women who threaten to take it. It's huge, this tumbling history that we carry on our shoulders. It's heavy and sometimes, it's hard to keep your composure. Sometimes you just have to explode.

Women have been driven mad, "gaslighted," for centuries by the refutation of our experience and our instincts in a culture which validates only male experience. The truth of our bodies and our minds has been mystified to us. We therefore have a primary obligation to each other: not to undermine each others' sense of reality for the sake of expediency; not to gaslight each other.Women have often felt insane when cleaving to the truth of our experience. Our future depends on the sanity of each of us, and we have a profound stake, beyond the personal, in the project of describing our reality as candidly and fully as we can to each other.

When it comes to current attitudes about surgery, the practice of dismissing the cultural context and rationalizing it as individual betterment "flattens the terrain of power relations." In other words, we can talk about doing it for us until our high-end lipstick flakes off, but we should also keep in mind that we probably wouldn't even be thinking about what life would be like with a new nose or perkier breasts or shapelier inner thighs if it weren't for a long-standing cultural ideal that rewards those who adhere to it with power that often doesn't speak its name, but is instantly recognizable to those who don't have it.

I didn't leave right away. I stayed in the woods. I heard the faint voices of other people. I felt the cold against my skin. But mostly, I was aware of my own heavy breathing, my own thoughts, my own past, present, and future. I realized then, and would have to keep realizing in all the years to come: It didn't matter if I was the kind of girl who had sex, of the kind of girl who had her portrait on a wall in the library, or the kind of girl who got into the best college, or the kind of girl who didn't tell her parents everything, or the kind of girl who teachers loved. I just needed to be okay with all the kinds of girl I was.

The little blue book was rattling around in my purse. I took it out and turned to the last thing he had said ("You stupid broad et cetera). Underneath was written Girl backs down--cries--manhood vindicated. Under "Real Fight With Girl" was written Don't hurt (except whores). I took out my own pink book, for we all carry them, and turning to the instructions under "Brutality" found:Man's bad temper is the woman's fault. It is also the woman's responsibility to patch things up afterwards.There were sub-rubrics, one (reinforcing) under "Management" and one (exceptional) under "Martyrdom." Everything in my book begins with an M.

Fairy tales for adult readers remained popular throughout Europe well into the 19th century — particularly in Germany, where the Brothers Grimm published their massive collection of German fairy tales (revised and edited to reflect the Brothers’ patriotic and patriarchal ideals), providing inpiration for novelists, poets, and playrights among the German Romantics. Recently, fairy tale scholars have re–discovered the enormous body of work produced by women writers associated with the German Romantics: Grisela von Arnim, Sophie Tieck Bernhardi, Karoline von Günderrode, Julie Berger, and Sophie Albrecht, to name just a few.

Does it explain my astonishment the other day when Z, most humane, most modest of men, taking up some book by Rebecca West and reading a passage in it, exclaimed, 'The arrant feminist! She says that men are snobs!' The exclamation, to me so surprising - for why was Miss West an arrant feminist for making a possibly true if uncomplimentary statement about the other sex? - was not merely the cry of wounded vanity; it was a protest against some infringement of his power to believe in himself. Women have served all these centuries as looking glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size.

All of us, whether vivisector or vegan, have been subject to mechanisms undercutting sympathy for animals. How long and to what extent we submit to these mechanisms is not a matter of rationality: to cut off our feelings and support animal exploitation is rational, given societal expectations and sanctions; but to assert our feelings and oppose animal exploitation is also rational, given the pain involved in losing our natural bonds with animals. So our task is not to pass judgment on others' rationality, but to speak honestly of the loneliness and isolation of anthropocentric society, and of the damage done to every person expected to hurt animals.

For her next birthday she'd asked for a telescope. Her mother had been alive then, and had suggested a pony, but her father had laughed and bought her a beautiful telescope, saying: "Of course she should watch the stars! Any girl who cannot identify the constellation of Orion just isn't paying attention!" And when she started asking him complicated questions, he took her along to lectures at the Royal Society, where it turned out that a nine-year-old girl who had blond hair and knew what the precession of the equinoxes was could ask hugely bearded famous scientists anything she liked. Who'd want a pony when you could have the whole universe?

Cixi was not at the coronation. The majestic main part of the Forbidden City was out of bounds to her – because she was a woman. She still could not set foot in it, even though she was now the de facto ruler. In fact, when her sedan-chair went within sight of it, she had to close the curtain and show humility by not looking at it. Virtually all decrees were issued in the name of her son, as Cixi had no mandate to rule. It was with this crippling handicap that she proceeded to change China.”Excerpt From: Chang, Jung. “Empress Dowager Cixi.” Random House, 2013-09-25T18:30:00+00:00. iBooks. This material may be protected by copyright.