Women We Love

Discusses "loving too much" as a pattern of thoughts, feelings, and behaviors which certain women develop as a reponse to various problems in their family backgrounds.

A provocative and bracing send-up of modern masculinity, from the author of Class and The Story of My Purity Marcello, an editor and poet, is on the brink of his forties. Like everyone in his life, including his sister-in-law, he’s writing a novel. This novel. This novel will be about women. Love. Growing older. Maybe even taking responsibility. But unfortunately for Marcello, the women in his life resist definition. They flit and flicker constantly between archetype and actuality: sirens and saviors, subordinates and savants, vixens and villains. So Marcello cannot write plainly about love. Instead, he tries to write into the complexities of his many relationships: Eleonora, the junior editor, his former protegeé and sometime lover; Barbara, his claustrophobic girlfriend; his estranged gay sister; his elegant mother. Fresh, frank, and painfully cool, Francesco Pacifico’s The Women I Love dives nakedly into gender, sex, and power. Set in a vivid and alcoholic Italy, it acknowledges and subverts the narrow ways canonical male writers gaze at, and somehow fail to see, women—illuminating the possibility of equity between people in love, in bed, in work, and in life.

Originally written in the 1990s, this book remains a key resource for women in heterosexual marriages who discover, or are coming to terms with, their lesbianism or bisexuality. This classic edition includes a new foreword from Ann Northrop—veteran journalist, activist, and co-host of Gay USA—that reflects on the changes in language, intersectionality, and understandings of gender since first publication. Celebrating 25 years since first publication, this book shares the author’s personal story, as well as the descriptive experience of others, to provide validation and empowerment to multitudes of women in their search for their true identities. The author gives women ways in which to structure and restructure their lives and their families after they realize their samegender sexuality. Chapters consider questions such as how women make this discovery, reactions from loved ones, and the outcomes for marriages and families. Updated throughout with contemporary understandings of sexuality and gender, as well as updated language, this book includes a wealth of information, fresh narratives, and stories offering insight into women’s experiences across the country. This is an essential read for women and their partners who are discovering their true identity, as well as therapists, helping professionals, and students of women’s studies, gender studies, sexuality studies, and LGBTQ+ studies programs.

“Smart ... compelling ... persuasive .” —New York Times Book Review She’s everywhere once you start looking: the trainwreck. She’s Britney Spears shaving her head, Whitney Houston saying “crack is whack,” and Amy Winehouse, dying in front of millions. But the trainwreck is also as old (and as meaningful) as feminism itself. From Mary Wollstonecraft—who, for decades after her death, was more famous for her illegitimate child and suicide attempts than for A Vindication of the Rights of Woman—to Charlotte Brontë, Billie Holiday, Sylvia Plath, and even Hillary Clinton, Sady Doyle’s Trainwreck dissects a centuries-old phenomenon and asks what it means now, in a time when we have unprecedented access to celebrities and civilians alike, and when women are pushing harder than ever against the boundaries of what it means to “behave.” Where did these women come from? What are their crimes? And what does it mean for the rest of us? For an age when any form of self-expression can be the one that ends you, Doyle’s book is as fierce and intelligent as it is funny and compassionate—an essential, timely, feminist anatomy of the female trainwreck.

Women We Love: Femininities and the Korean Wave is an edited volume exploring femininities in and around the Korean Wave since 2000. While studies on the Korean Wave are abundant, there is a dearth of thought put toward the female-identifying stars, characters, and fans who shape and lead this crucial cultural movement. This collection of essays is one of the first works to focus on gender and the key female actors of this global phenomenon. Using “women” as an inclusive term extending to all those who self-define as women, this volume examines the role of women in K-pop and K-drama industries and fandom spaces, encompassing crucial intersectional topics such as queering of gender, dissemination of media, and fan culture. In addition to the communities engaged with visual culture of the Korean Wave, the audience for Women We Love will reflect the contributors to this text. They are K-pop and K-drama fans, queer, international; they are also academics of Asian histories, sociology, gender and sexuality, art history, and visual culture. The chapters are playful, intersectional, and will be adapted well into syllabi for media studies, gender studies, visual culture studies, sociology, and contemporary global history. “Women We Love goes far beyond the dyad of the flower boy Hallyu star and his female fan to offer readers an illuminating discussion of plural femininities in the Korean Wave since the turn of the millennium. The essays will answer many burning yet heretofore unanswered questions about the affective resonances and political significance of Korean popular culture’s gender dynamics, which have fascinated, puzzled, and at times frustrated many fans and observers. Rigorously interdisciplinary, yet grounded in textual detail, historical context, and material reception practices, this is a timely and valuable contribution to the study of gender, fandom, and global media.” —Michelle Cho, University of Toronto “This is a provoking and fascinating book—one of the most awaited books in Hallyu studies. Drawing from a multitude of feminist theories and case studies, this edited volume not only provides captivating and much-needed discussions but also critically expands the current debates in gender studies, feminism studies, and fan studies. This book is vital literature for researchers, students, and practitioners who are willing to advance their understanding of the Korean Wave from a new scope and angle.” —Dal Yong Jin, Simon Fraser University

“When truth teller and careful writer bell hooks offers a book, I like to be standing at the bookshop when it opens.” –Maya Angelou Renowned visionary bell hooks explored the meaning of love in American culture with the critically acclaimed bestseller All About Love: New Visions. She continued her national dialogue with the bestselling Salvation: Black People and Love. Now hooks culminates her triumphant trilogy of love with Communion: The Female Search for Love. Intimate, revealing, provocative, Communion challenges every woman to courageously claim the search for love as the heroic journey we must all choose to be truly free. In her trademark commanding and lucid language, hooks explores the ways ideas about women and love were changed by the feminist movement, by women's full participation in the workforce, and by the culture of self-help, and reveals how women of all ages can bring love into every aspect of their lives, for all the years of their lives. Communion is the heart-to-heart talk every woman -- mother, daughter, friend, and lover -- needs to have.

Short Synopsis on the book: Men and Women you love to hate or What’s his name I really hate him’ (As you can see, above; I have two possible titles; but I can’t decide which one to use?) This is how I envisage the book cover the front of the book; the character is a cartoon representation of a ‘Baddie’ based on Dick Dastardly from ‘Whacky Races’ which is originally based on a Victorian actor Todd Slaughter who always played villains in plays and films. The Men & Women you love to hate Or What’s his name? I really hate him! Main Body of the book The character of the villain is an integral part of the history of ‘story telling’ in books, fairy tales in the cinema and on the stage. All cultures that have some form of storytelling tradition, in whatever language the usual premise is of good versus evil or a good person against a bad person. In the English literary tradition follows on from Chaucer in the 14th century and Shakespeare in the 16th century. Shakespeare’s genius was his skill in making his characters believable and, motivated by the things that motivate all human beings. They react to their circumstances and to people in different ways. Some of Shakespeare’s characters act in cruel and unpleasant ways; some kill, deceive and take advantage of the other person whether man or woman but they remain human beings who we can recognise. How does the author or screen writer know if a certain type of villain fits well into the script or book they propose in their genre or story? To an author or screenwriter, each character-type serves a specific purpose in the exploration of a book or script’s premise, which usually starts with the protagonist. An antagonist’s primary purpose is to be the main obstacle to the protagonist (hero’s) quest or goal, which is motivated by a conflicting goal. That goal is something an antagonist is determined to secure for his or her own reason/s. The antagonist (villain) can in most cases be self-serving or the protection of a community he or she might have a ‘stake in’. The character’s reasons for doing what they do can often be the most emotionally compelling part of the story. This is because audiences can on occasions understand the antagonist’s motivation and can sometimes relate to it; these motives fall generally under two distinct classifications of ‘personal gain’ or ‘communal gain’.

THE GREATEST FULFILLMENT IN MARRIAGE IS two hearts becoming one.