Girl Gurl Grrrl

A People Pick! "One of the year's must-reads." -ELLE "[A] provocative, heart-breaking, and frequently hilarious collection." -GLAMOUR "Essential, vital, and urgent." -HARPER'S BAZAAR In the vein of Roxane Gay's Bad Feminist and Issa Rae's The Misadventures of Awkward Black Girl, but wholly its own, a provocative, humorous, and, at times, heartbreaking collection of essays on what it means to be black, a woman, a mother, and a global citizen in today's ever-changing world. Black women have never been more visible or more publicly celebrated than they are now. But for every new milestone, every magazine cover, every box office record smashed, every new face elected to public office, the reality of everyday life for black women remains a complex, conflicted, contradiction-laden experience. An American journalist who has been living and working in London for a decade, Kenya Hunt has made a career of distilling moments, movements, and cultural moods into words. Her work takes the difficult and the indefinable and makes it accessible; it is razor sharp cultural observation threaded through evocative and relatable stories. Girl Gurl Grrrl both illuminates our current cultural moment and transcends it. Hunt captures the zeitgeist while also creating a timeless celebration of womanhood, of blackness, and the possibilities they both contain. She blends the popular and the personal, the frivolous and the momentous in a collection that truly reflects what it is to be living and thriving as a black woman today.

'Powerful, intelligent and vital - one of the year's must-reads' Hannah Nathanson, Features Director, ELLE Featuring contributions from Candice Carty-Williams, Jessica Horn, Ebele Okobi, Funmi Fetto and Freddie Harrel.

Black Stats—a comprehensive guide filled with contemporary facts and figures on African Americans—is an essential reference for anyone attempting to fathom the complex state of our nation. With fascinating and often surprising information on everything from incarceration rates, lending practices, and the arts to marriage, voting habits, and green jobs, the contextualized material in this book will better attune readers to telling trends while challenging commonly held, yet often misguided, perceptions. A compilation that at once highlights measures of incredible progress and enumerates the disparate impacts of social policies and practices, this book is a critical tool for advocates, educators, and policy makers. Black Stats offers indispensable information that is sure to enlighten discussions and provoke debates about the quality of Black life in the United States today—and help chart the path to a better future. There are less than a quarter-million Black public school teachers in the U.S.—representing just 7 percent of all teachers in public schools. Approximately half of the Black population in the United States lives in neighborhoods that have no White residents. In the five years before the Great Recession, the number of Black-owned businesses in the United States increased by 61 percent. A 2010 study found that 41 percent of Black youth feel that rap music videos should be more political. There are no Black owners or presidents of an NFL franchise team. 78 percent of Black Americans live within 30 miles of a coal-fired power plant, compared with 56 percent of White Americans.

A close examination of the relationship between media, art, and the “Electra complex” The feminist counterpart to Deleuze and Guattari’s Anti-Oedipus, Anti-Electra is a philosophy of “the girl” as a model of contemporary transgressive subjectivity. Elisabeth von Samsonow asserts that focusing on the girl’s escape from the Oedipus complex leads to a fundamental shift in our most common views on media and art. Presenting an interpretation of contemporary technics, Anti-Electra argues that technology today encompasses Electra’s gadgets and toys. According to von Samsonow, satellite drive technologies such as wireless telephones, WLAN, and GPS echo the “preoedipal constellation” that the girl specializes in. And with the help of the girl, the cartography of overlapping zones between humankind and animals, as well as between humankind and apparatuses, is redesigned through what the book holds as a “radical totemism.” Anti-Electra ultimately offers a new view on gender, the contemporary world dyed by symbolic girlism, and the (universal) girl in critical dialogue with media, ecology, and society.

A powerful, vibrant novel about the life-changing weekend shared between two strangers, from the award-winning writer Roxane Gay calls "a consummate storyteller."​ On a rainy October night in Kentucky, recently divorced therapist Tallie Clark is on her way home from work when she spots a man precariously standing at the edge of a bridge. Without a second thought, Tallie pulls over and jumps out of the car into the pouring rain. She convinces the man to join her for a cup of coffee, and he eventually agrees to come back to her house, where he finally shares his name: Emmett. Over the course of the emotionally charged weekend that follows, Tallie makes it her mission to provide a safe space for Emmett, though she hesitates to confess that this is also her day job. What she doesn’t realize is that Emmett isn’t the only one who needs healing—and they both are harboring secrets. Alternating between Tallie and Emmett’s perspectives as they inch closer to the truth of what brought Emmett to the bridge’s edge—as well as the hard truths Tallie has been grappling with since her marriage ended—This Close to Okay is an uplifting, cathartic story about chance encounters, hope found in unlikely moments, and the subtle magic of human connection. ​Longlisted for the 2022 Mark Twain American Voice in Literature Award Longlisted for the Goodreads Choice Awards Book of the Month December Pick Good Housekeeping Book Club February Pick Marie Claire Book Club March Pick Most Anticipated by Elle, Today (according to Goodreads), The Millions, She Reads, and Real Simple Recommended by Refinery29, Shondaland, Oprah Daily, Washington Post, Glamour, Cosmopolitan, Electric Literature, Bookriot, Parade, Harper's Bazaar, and more

Writer and artist Ailie Banks is a self-proclaimed bitch. The word has been thrown at her, and the women around her, Ailie's entire life. A bitch is stereotypically thought to be unkind, uncaring and ultimately untrustworthy. But in Ailie's eyes, a bitch is someone who stands firm and speaks their mind in the face of sexist rhetoric. They don't filter themselves for the comfort of others and they don't give a single damn about meeting societal expectations. From Ambitious Bitch to Zealous Bitch, THE BOOK OF BITCH is an alphabetical tribute to the word sneered through clenched teeth at those who refuse to shrink in the face of oppression. This book shows once and for all that every bitch is multifaceted, every bitch is human and every bitch deserves to be celebrated. 'It's taken me a long time to embrace my inner bitch, but Ailie Banks's incredible illustrations have finally made me proud to say I'm a bitch and that's definitely NOT a bad thing!' Scarlett Curtis, curator of Feminists Don't Wear Pink 'I want to be an Ailie Banks kind of bitch. Terrorising bigots, breastfeeding in public, glam while surviving and holding a megaphone - these illustrations are badass and uncompromising. This book just put 'tenacious' back in my vocabulary and on my to-do list.' Bri Lee, author of Eggshell Skull 'As a self-identifying, all-encompassing, proud, loud and powerfully unapologetic bitch, this book speaks to me on too many levels. It has perfect descriptions for the complex narrative that is the life of a bitch, coupled with images that reflect me - chubby, strong, oft-hairy, always beautiful. I feel seen, acknowledged and understood.' Lillian Ahenkan, FlexMami

INSTANT NEW YORK TIMES BESTSELLER WINNER OF THE 2020 NAACP IMAGE AWARD FOR OUTSTANDING LITERARY WORK — BIOGRAPHY/AUTOBIOGRAPHY NOW OPTIONED FOR DEVELOPMENT AS A TV SERIES BY PARAMOUNT TELEVISION STUDIOS AND ANONYMOUS CONTENT “The millennial Becoming . . . Inspiring and empowering.” —Entertainment Weekly “An essential read for women in the workplace today.” —Refinery29 Part-manifesto, part-memoir, from the revolutionary editor who infused social consciousness into the pages of Teen Vogue, an exploration of what it means to come into your own—on your own terms Throughout her life, Elaine Welteroth has climbed the ranks of media and fashion, shattering ceilings along the way. In this riveting and timely memoir, the groundbreaking journalist unpacks lessons on race, identity, and success through her own journey, from navigating her way as the unstoppable child of an unlikely interracial marriage in small-town California to finding herself on the frontlines of a modern movement for the next generation of change makers. Welteroth moves beyond the headlines and highlight reels to share the profound lessons and struggles of being a barrier-breaker across so many intersections. As a young boss and often the only Black woman in the room, she’s had enough of the world telling her—and all women—they’re not enough. As she learns to rely on herself by looking both inward and upward, we’re ultimately reminded that we’re more than enough.

Archival material from the 1990s underground movement “preserves a vital history of feminism” (Ann Cvetkovich, author of Depression: A Public Feeling). For the past two decades, young women (and men) have found their way to feminism through Riot Grrrl. Against the backdrop of the culture wars and before the rise of the Internet or desktop publishing, the zine and music culture of the Riot Grrrl movement empowered young women across the country to speak out against sexism and oppression, creating a powerful new force of liberation and unity within and outside of the women’s movement. While feminist bands like Bikini Kill and Bratmobile fought for their place in a male-dominated punk scene, their members and fans developed an extensive DIY network of activism and support. The Riot Grrrl Collection reproduces a sampling of the original zines, posters, and printed matter for the first time since their initial distribution in the 1980s and ’90s, and includes an original essay by Johanna Fateman and an introduction by Lisa Darms.