Book Review: Women of Resistance: Poems for a New Feminism edited by Danielle Barnhart & Iris Mahan (2018)

Friday, April 20th, 2018

Inclusive, Intersectional, and Feminist AF

four out of five stars

(Full disclosure: I received a free ARC for review through NetGalley.)

I want to believe
I’m a better woman now
that I’m writing poems.
that when I say, poems
I mean another way
to say, revenge.

(Denice Frohman, “Hunger”)

My god understands how slave women plucked pearls
from between their legs rather than see them strung up by the neck.

(Elizabeth Acevdeo, “An Open Letter to the Protestors Outside the Planned Parenthood Near My Job”)

This little grandmother
was ordered to pull down her paintings
because the Rabbi was offended
by her version of Eve: 9 months pregnant,
unbroken & reaching for another apple.

(Ruth Irupé Sanabria, “On Mate & the Work”)

Compiled in response to the 2016 election, Women of Resistance: Poems for a New Feminism features the work of fifty feminist activists; some established poets, other relative newcomers; from all walks of life. The collection is both timely, and depressingly timeless: sexual assault, objectification, interpersonal violence, racism, police brutality, the suppression of women’s voices, disenfranchisement, white supremacy; all are issues that we’ve been fighting for far too long. (Cue the meme, “I Can’t Believe I Still Have To Protest This Fucking Shit.”)

Some of the poems I loved; others, I struggled with; and a small handful I skimmed over altogether. The collection’s greatest strength is its inclusiveness, diversity, and breadth of voices. And yet, Women of Resistance is a little uneven, and I can’t say that I always “got” – or even enjoyed – the poems featured here. (To be fair, poetry isn’t my strong suit, and I’ve been feeling a little burned out on it lately to boot.)

THAT SAID, when a poem resonated with me, it was often a loud and resounding affair. There are some truly astounding pieces of verse in here! In particular I adored the work of Denice Frohman (“Hunger,” “A Woman’s Place”), Kimberley Johnson (“Female”), Jacqueline Jones (“Civil Rights”), Kim Addonizio “To the Woman Crying Uncontrollably in the Next Stall”), Laura Theobald (“Getting a UTI”), Elizabeth Acevdeo (“An Open Letter to the Protestors Outside the Planned Parenthood Near My Job”), Ada Limón (“Service”), Stacey Waite (“The Four Nights She’s Gone”), Patricia Smith (“What She Thinks as She Waits by the Door”), Ruth Irupé Sanabria (“On Mate & the Work”), Mary Ruefle (“Woodtangle”), Rachel McKibbens (“Shiv”), and Lauren K. Alleyne (“Ode to the Pantsuit”).

Usually I prefer reading ebooks on my Kindle, since it’s easier to highlight text and take notes this way, but this particular book looks its best on an ipad or other full-color device. There are some neat black and white protest photos here and there, and the formatting tends to stay true to the original.

(This review is also available on Amazon, Library Thing, and Goodreads. Please click through and vote it helpful if you’re so inclined!)

Book Review: The Witch Doesn’t Burn in this One (Women are some kind of magic #2) by Amanda Lovelace (2018)

Monday, March 5th, 2018

“warning II: no mercy ahead.”

three out of five stars

(Full disclosure: I received a free electronic ARC for review through Netgalley. Trigger warning for violence against women.)

misogyny
/m ‘säj ne/
noun
1: the power-driven hatred of women.
2: just the way things are.

misandry
/mi ‘ sandre/
noun
1: the reactionary, self-preserving hatred of men.
2: somehow this is going too far.

our
very being

is considered
an inconvenience,

our bodies
vacant homes

wrapped in layers
of yellow tape,

our legs
double doors

for one man
(& one man only)

to pry open so
he can invade us

& set down his
furniture,

never once
asking us

how we feel
about the curtains.

– they love us empty, empty, empty.

in this novel
the woman protagonist

claims she’s not like
those other girls,

not because she finds
their femininity

to be an insult or
a weakness, no—

it’s
because

she knows
all women have

their own unique
magic

that cannot be
replicated by her

or any other
woman.

– the plot twist we’ve all been waiting for.

It pains me that I didn’t love this book more than I did.

I credit Lovelace’s first collection, The Princess Saves Herself in this One, with reigniting my love of poetry. Accessible and invigorating, it showed me that I could both enjoy – and understand – modern poetry. Based on the strength of the first book, and the fairy tale promise of the follow-up’s title, my expectations were really quite high. Maybe unfairly so.

If you read The Princess Saves Herself in this One, many of the pieces here will feel familiar to you; this is not necessarily a bad thing. Lovelace’s words have the same fierce intersectional feminist spark that drew me to Princess. There’s a lot to love here – but there’s also quite a bit of repetition. I was also hoping for a more obvious connection between the poems and fairy tale villains; maybe a retelling here or there. Mostly though the poems just draw on imagery of witchcraft and witch hunts. Again, this isn’t a bad thing, especially given the current backlash against the #MeToo campaign. I was just hoping for something … more.

That said, there are some really wonderful and memorable poems within these here pages. The topics are timely AF, and I love that Lovelace takes care to embrace all women under the banner of sisterhood (say it with me: all women are authentic). If you love women and love poetry, The Witch Doesn’t Burn in this One is still a pretty solid pick, and I look forward to the next title in the “Women are some kind of magic,” The Mermaid’s Voice Returns in this One.

(This review is also available on Amazon, Library Thing, and Goodreads. Please click through and vote it helpful if you’re so inclined!)

Book Review: Comics for Choice: Illustrated Abortion Stories, History and Politics edited by Hazel Newlevant, Whit Taylor, and O.K. Fox (2018)

Tuesday, February 6th, 2018

#shoutyourabortion, now in graphic novel format!

four out of five stars

(Full disclosure: I received a free electronic ARC for review through Edelweiss.)

In the editor’s note, Hazel Newlevant explains the genesis of Comics for Choice: Illustrated Abortion Stories, History and Politics:

Comics for Choice was sparked by my outrage at the clinic closures and suffocating restrictions on abortion rights in states like Texas. It is not enough for abortion to remain technically legal; it is a moral imperative for abortion care to be accessible to all who need and want it. The right to abortion is the right to bodily autonomy, and to determine one’s own life path. When our 45th president was elected, and the future of abortion rights seemed more uncertain than ever, I couldn’t wait any longer. The very next morning, my co-editors and I set the wheels in motion to create the book you now read.

The result is, sadly, both relevant and timely; in the words of badass old broads everywhere, “I can’t believe I still have to protest this fucking shit.”

The anthology brings together more than sixty contributors – including women (and some trans and nonbinary folks) who have had abortions; women who were born after their mothers chose to terminate a previous pregnancy; reproductive rights advocates; clinic escorts; abortion doulas; and other feminist activists – to share their stories about abortion. Comics for Choice aims to destigmatize abortion, birth control, and family planning (but mostly abortion) by sharing personal stories from those who have undergone the procedure, as well as historical context, scientific information, and (in an especially touching piece by Jennifer Camper and Katie Fricas) a memorial to those murdered by anti-choice terrorists in the United States.

Like many anthologies, collection is somewhat uneven. Unlike most anthologies, the breadth of voices is also the book’s greatest advantage: if nothing else, Comics for Choice underscores the fact that abortion cuts across myriad lines – race, class, politics, sexuality, even gender. One in four women will undergo an abortion at least once in her lifetime; countless others will be forced to carry an unwanted pregnancy to term due to unequal access. Comics for Choice gives people from divergent backgrounds the chance to share their stories, sometimes pairing artists with regular folks to better convey their experiences. Representation matters, and the editors have taken care to make this mantra the backbone of Comics for Choice.

As for my favorites, one piece that stands out – and will probably haunt my dreams throughout the Trump presidency – would have to be “Horror Stories” (as in “Do It Yourself Abortion Horror Stories”) by Jennifer Camper. Simple yet horrifyingly effective, the one-page comic portrays fourteen methods of DIY abortion with stark and chilling brevity. Dr. Cynthia Greenlee and Jaz Malone’s portrait of Dorothy Brown, Tennessee’s fist black woman legislator (“They Called Her Dr. D”), follows “Horror Stories” and provides a nice, fist-pumping counterpoint.

Mick Moran shares her experiences as an abortion doula in “Bearing Witness,” which had me convinced that abortion doulas must make the best, most empathetic friends ever. The last comic, Vreni’s “Nothing Feels Real (an abortion diary)” is also one of the most powerful contributions, offering an intimate look at funding, undergoing, and recovering from a surgical abortion.

Perhaps the most surprising piece, for me, was “Abortion Trials.” Based on transcripts of abortion trials from the post-WWII era, Rickie Solinger and Rachael Morrill explore how women were routinely slut-shamed and demonized – “thoroughly degraded and humiliated” – often for public entertainment, and when they were not necessarily the ones on trial. In many cases, it was their doctor’s own defense attorney dishing out the abuse.

Comics for Choice isn’t always an easy read, but it’s a necessary one – and a much-needed addition to the swell of women’s voices that continues to rise into 2017 and beyond.

(This review is also available on Amazon, Library Thing, and Goodreads. Please click through and vote it helpful if you’re so inclined!)

Book Review: Cry Your Way Home by Damien Angelica Walters (2018)

Tuesday, January 9th, 2018

Walters is at her best when she’s playing Frankenstein with fairy tale tropes.

three out of five stars

(Full disclosure: I received a free electronic ARC for review through Library Thing’s Early Reviewers program. Trigger warning for violence against women and suicide.)

Once upon a time there was a monster. This is how they tell you the story starts. This is a lie.
(“Tooth, Tongue, and Claw “)

Don’t be fooled by the breadcrumbs in the forest. This is not a fairy tale.
(“A Lie You Give, and Thus I Take”)

You won’t catch me in my underwear. I sleep in my fucking coveralls.
(“The Serial Killer’s Astronaut Daughter”)

Between the oft-quoted “Once upon a time there was a monster…” line (reproduced above; I just couldn’t help myself!), and the deliciously dark story titles, I was practically frothing at the mouth to read an early copy of Cry Your Way Home. Alas, this collection of short stories – an eclectic mix of science fiction, fantasy, fairy tale retellings, and the stray piece of contemporary fiction, all bound by a fierce undercurrent of feminism running throughout – is more of a mixed bag than I’d hoped. There are a few gems here, but also a good many underwhelming and ultimately forgettable stories, too.

The collection opens on a strong note with “Tooth, Tongue, and Claw,” easily my favorite of the bunch. A mix of Beauty and the Beast and The Handmaid’s Tale (or perhaps “The Lottery”), the story ends with a surprising twist that’s as satisfying as it is lurid. A mashup of various fairy tales/spin on the entire genre, “A Lie You Give, and Thus I Take” is equal parts beautiful, chilling, and cautionary. While I think Walters is at her best when writing in this wheelhouse, I also quite enjoyed some of her science fiction; “The Serial Killer’s Astronaut Daughter,” “Take a Walk in the Night, My Love,” and “The Floating Girls: A Documentary” are all worth a read or two or three.

(More below the fold…)

Book Review: Wild Embers by Nikita Gill (2017)

Tuesday, December 19th, 2017

“She is alone. | And oh | how brilliantly she shines.”

four out of five stars

(Full disclosure: I received a free ARC for review through NetGalley. Trigger warning for allusions to rape and interpersonal violence.)

We are the blood
of the witches
you thought were dead.

We carry witchcraft in our bones
whilst the magic still sings
inside our heads.

When the witch hunters
imprisoned our ancestors
when they tried to burn the magic away.

Someone should have
warned them
that magic cannot be tamed.

Because you cannot burn away
what has always
been aflame.

(“Witch”)

It is the law of the universe
that even ghosts understand
as long as they matter to someone
they still exist and in your heart
they stand.

(“Ghost Story”)

I really wanted to love this collection of poetry more than I did – although this isn’t to suggest that I didn’t enjoy it. Nikita Gill’s poetry is powerful, passionate, and fiercely feminist. With Wild Embers, she fans the flames of rebellion – against a culture so steeped in misogyny and sexism that it’s taken as the norm, the default, the air we breathe – and at a time when we need it, desperately. Whether reimaging sexist fairy tales and myths or challenging abusers – including her own – Gill’s words cut deep, to the bone. They’re also accessible and satisfying, in a way that poetry isn’t always.

Yet she often employs similar imagery and themes, such that the poems start to feel a little repetitive by the final quarter of the book. Less might be more here. Also, I wish she’d taken the idea of giving each part its own unique theme and run with it a little harder. The first section is so clearly about humanity’s relationship to the cosmos, the starstuff that coalesces in our atoms and spirits … and yet, with the exception of parts III and VI (fairy tales and mythology, respectively), she mostly abandons themes (or at least more apparent ones) after so skillfully priming her audience for them.

Overall, though, it’s a valuable collection of poetry, raw and full of hope and resistance.

(More below the fold…)

Book Review: Helium by Rudy Francisco (2017)

Tuesday, December 12th, 2017

Reflections on race, gender, mental illness — and love, naturally!

four out of five stars

(Full disclosure: I received a free copy of this book for review through Goodreads.)

Your God stole my God’s identity.
So next time you bend your knees,
next time you bow your head
I want you to tell your God
that my God is looking for him.
(“To the Man Standing on the Corner Holding the Sign That Said ‘God Hates Gays'”)

Once, a friend of a friend asked me
why there aren’t more black people in the X Games
and I said, “You don’t get it.”
Being black is one of the most extreme sports in America.
(“Adrenaline Rush”)

Some days I forget that my skin
is not a panic room.
(“My Honest Poem”)

###

The first poem in Helium, “Water,” took my breath away – and more or less set the tone for the entire volume.

I have a terrible time reviewing poetry; I can’t tell you whether a poem is “good,” technically speaking, only if I liked it. Even then I fear I’m a poor barometer, since I’m as likely to understand it as not.

But Rudy Francisco’s poetry is accessible AF. Also daring, insightful, passionate, and unfiltered. I especially adore the poems that tackle mental illness – which is no surprise, as I struggle with anxiety and depression myself, and thus find this genre incredibly relatable and applicable to my own life.

Many of these pieces appear in Parts I and II; but it’s those poems centered on social justice issues (Part III) that really stunned me speechless. “Adrenaline Rush,” “Rifle II,” “To the Man Standing on the Corner Holding the Sign That Said ‘God Hates Gays'” — these poems will stick with me long after Helium claims its permanent home on my bookshelves. Not that it will stay there indefinitely: this is a book I’m likely to revisit again in the future.

Though Francisco is at his best when writing about social justice issues – toxic masculinity, misogyny, religious intolerance, art as resistance, police brutality, etc. – I cared less for his love poems. Though I suppose it could just be the jaded, 39-year-old widow in me silently screaming, “Please don’t be a love poet!”

I also actively disliked “Complainers” (to paraphrase: if you’ve never had to saw your own arm off with a rusty butterknife, stfu!), which is kind of a bummer: the second-to-last poem in the book, it left a bitter taste in my mouth.

I rarely read physical books anymore – I’m more an ebook kind of gal – but I found the font a little on the small side, and unnecessarily so, since many of the pages are dominated by white space. Borderline hard-to-read for my nearly middle-aged eyes.

These are all fairly minor complaints, though, given the sheer genius and raw emotion embodied in Helium.

(More below the fold…)

Book Review: #Notyourprincess: Voices of Native American Women edited by Lisa Charleyboy & Mary Beth Leatherdale (2017)

Tuesday, September 12th, 2017

“We aren’t historic figures; we are modern women.”

four out of five stars

(Full disclosure: I received a free electronic ARC for review through NetGalley. Trigger warning for allusions to violence against women, suicidal ideation, genocide, and racism and sexism.)

It’s strange to me how people always want me to be an “authentic Indian.” When I say I’m Haudenosaunee, they want me to look a certain way. Act a certain way. They’re disappointed when what they get is . . . just me. White-faced, red-haired. They spent hundreds of years trying to assimilate my ancestors, trying to create Indians who could blend in like me. But now they don’t want me either. I’m not Indian enough. They can’t make up their minds. They want buckskin and war paint, drumming, songs in languages they can’t understand recorded for them, but with English subtitles of course. They want educated, well-spoken, but not too smart. Christian, well-behaved, never questioning. They want to learn the history of the people, but not the ones who are here now, waving signs in their faces, asking them for clean drinking water, asking them why their women are going missing, asking them why their land is being ruined. They want fantastical stories of the Indians that used to roam this land. They want my culture behind glass in a museum. But they don’t want me. I’m not Indian enough.

(“The Invisible Indians,” Shelby Lisk)

Because history moves like a fevered heat down through the arteries of generations
Because PTSD to the family tree is like an ax Because colonization is the ghosts of buffalos with broken backs
Because today only burning flags could be found at the ghost dance of my people

(“Stereotype This,” Melanie Fey)

I feel like I should begin this review with a word of caution: If you see any complaints about formatting problems ahead of the pub date, disregard them. The Kindle version of this ARC is indeed a hot mess, but this is par for the course when it comes to books with a heavy graphic element. The acsm file, read on Adobe Digital Editions (which I loathe, but happily suffered for this book!), gives a much clearer picture of what the finished, physical copy is meant to look like. And, if Amazon’s listing is any indication, #Notyourprincess: Voices of Native American Women will only be released in print.

That said, #Notyourprincess is fierce, vibrant, and nicely organized. It feels a lot like an experimental art project, and I mean that in the best way possible. Within these here pages you’ll find an eclectic mix of personal essays, poems, quotes, photographs, line art, watercolors, comics, portraits of activists and athletes, and interviews with Native women. #LittleSalmonWoman (Lianne Charlie) even adopts the format of an Instagram page, while “More Than Meets the Eye” (Kelly Edzerza-Babty and Claire Anderson) profiles ReMatriate, which shares images of modern Native women on social media in order to reclaim their identities and broaden our ideas of what a “real” Native American woman looks like. (The quote in my review’s title comes from Claire Anderson, a founding member of ReMatriate.)

The topics touched upon run the gamut: genocide, colonization, forced assimilation, cultural appropriation, kidnapping, rape, domestic violence, mass incarceration, mental illness, sexuality, addiction, street harassment, homelessness, and intergenerational trauma.

(More below the fold…)

Mini-Review: My Rad Life: A Journal by Kate Schatz and Miriam Klein Stahl (2017)

Tuesday, August 22nd, 2017

This is the journal you’ve been waiting for!

five out of five stars

(Full disclosure: I received a free copy of this book for review through Blogging for Books.)

— 4.5 stars —

I was lucky enough to snag a review copy of Rad Women Worldwide, part of Kate Schatz and Miriam Klein Stahl’s “rad women” series, which began with 2015’s Rad American Women A-Z: Rebels, Trailblazers, and Visionaries who Shaped Our History . . . and Our Future! From concept to execution, I adored Rad Women Worldwide, and was over the moon with excitement when I saw that they’d be releasing a journal based on the books.

My Rad Life is (almost!) everything I’d hoped for: fun, stylish, interactive, and diverse af. Miriam Klein Stahl’s artwork is bold and arresting; her simple yet elegant black and white portraits of badass women – from Gloria Steinem to Beyoncé, bell hooks to Shirley Chisholm – provide a lovely and inspirational backdrop for journaling. The art is accompanied by thought-provoking quotes, many of which are used as a jumping-off point for prompts to get the creative juices flowing.

The format is a nice mix of guided and free-form pages: some pages are completely blank; others feature funky, hand-drawn lines (way more interesting than college-ruled spacing!);

and many include a blend of portraits, quotes, and prompts, leaving enough space for scribbling, writing, or drawing.

Unlike the rad women books, My Rad Life: A Journal is softcover. Though it’s lovely, with an embossed logo and everything, I do find myself missing the hardcover from Rad Women Worldwide, which was all kinds of gorgeous (and also more durable). I’d also love it if the journal had that special “lay flat” binding, to make it easier to write in the book. My handwriting is messy enough without having to struggle against the journal. :)

This would make an excellent give for tweens and young adults, particularly those with a budding interest in feminism and women’s history (package it with Rad American Women A-Z and Rad Women Worldwide to make an awesome little gift set). That said, it’s suitable for humans of all ages and gender expressions; I’m barrelling towards forty and loved it just the same.

(This review is also available on Amazon, Library Thing, and Goodreads. Please click through and vote it helpful if you’re so inclined!)

Rescue dogs, interspecies manifestos, and vegan pizza: An interview with Nicole J. Georges.

Tuesday, July 18th, 2017

null

(Photo © Amos Mac.)

 

Nicole J. Georges is a professor, writer, and illustrator who has been publishing her own zines and comics for twenty years. Her first book, Invincible Summer: An Anthology, published by Tugboat Press in 2004, is a collection of her autobiographic comic Invincible Summer. Since then, she has published several additional books, including Invincible Summer: An Anthology, Volume Two; the Lambda Award-winning graphic memoir Calling Dr. Laura; and Fetch: How a Bad Dog Brought Me Home, out today from Houghton Mifflin Harcourt. Her work has appeared in Bitch Magazine, Food & Booze, Baby Remember My Name, and It’s So You. Her custom pet portraits grace the homes of many lucky animal people. (I’M NOT JEALOUS YOU’RE JEALOUS.) Georges lives in Portland, Oregon and Los Angeles, California.

Equal parts coming of age memoir and love letter to a four-legged best friend, Fetch chronicles Georges’s sixteen-year relationship with Beija, a shar pei-doxy mix who Georges adopted at the tender age of sixteen. Meant as a gift for her then-boyfriend Tom, Georges ended up keeping Beija: first when Tom’s step-father wouldn’t allow the exchange; again when multiple attempts at rehoming didn’t pan out; and finally, for good, after her relationship with Tom imploded. Through unhealthy relationships, personal and professional upheavals, kitchen fires and living room concerts, Beija was there. Barking at strangers and friends alike, peeing on the carpet, and chasing down children; Beija was the so-called “bad dog” who helped Georges grow up.

I was lucky enough to receive an early copy of Fetch for review (spoiler alert: it is gushy and oh-so-fangirly) – and to interview Nicole about rescue dogs, interspecies manifestos, and vegan pizza, among other things.

 

null

Twenty-nine pages in, I texted my sister a photo of Fetch: “I think you’d like this book Fetch. She’s part Corgi, and the book opens with her attacking two kids at her 15th birthday party.” She’s a dog person; she gets it.

 

Nicole, I’ve been a fan since I first saw your artwork in Bitch Magazine (longtime subscriber here!). As a self-described “heathen vegan feminist,” I often find that my support for women’s rights and animal rights are intertwined. I especially love how you drew this connection with Beija’s manifesto, “I am not a stuffed animal.” How would you say that your veganism has influenced your feminism, or vice versa?

I think I became a vegan and a feminist at the same time. At first it was about finding my voice and taking up space, speaking for myself and other women. I felt like this was also my obligation with animal issues.

I had this dog, Beija, who was actually a very reasonable animal (coming from a rough puppyhood, she needed a certain level of familiarity with people to trust them enough to be pet by them) , but since she did not perform the function of “friendly, pettable cute thing” for people, they didn’t see her value. It felt like objectification, which felt familiar, and I wanted to write her manifesto to clarify that she still had intrinsic value anyway, as we all do, as beings on this Earth. We don’t need to perform submission and likability to have worth.

One of my mission statements in life has been self empowerment through representation. I try to offer tools to people to share their stories and take up space.

Obviously animals can’t do this (self publish), so I try to represent their stories and intricacies whenever I can.

You draw parallels between your own “feral” nature and Beija’s many behavioral issues. Did your own dysfunctional upbringing make it easier or more difficult to relate to Beija and handle her hangups?

I could relate to her. She just needed patience, and so did I, and I tried my best to give her what I both had and wanted growing up.

I grew up in a very makeshift and scrappy way. I would white knuckle through anything, and make do with whatever I had in front of me. I idolized the Boxcar Children in this way.

I think if I hadn’t grown up with this as the bar, I may not have had the patience and fortitude it took to keep a special needs rescue dog for as long as I did. She barked incessantly, picked fights, peed on the floor religiously, and jumped at strangers and children. I just moved my life around her. I don’t regret it at all. We grew up together and at the end of the day, she was an extension of me.

If adult Nicole could offer teenage Nicole one piece of advice, what would it be?

Go take some figure drawing classes, and start publishing comics immediately. Send your work to small publishers and people you like, but ask for feedback this time.

Also, consider letting your very stable sister adopt Beija when she offers to do so. It will give you more freedom of movement growing up.

If teenage Nicole could offer adult Nicole one piece of advice for surviving a Trump presidency, what would it be?

I would somehow quote both Nina Simone and Shirley Chisolm (which would be extraordinary to hear a teenager do):

It’s the responsibility of the artist to reflect the times we’re living in. -NS

Service is the rent we pay for the privilege of living on this Earth. -SC

Keep making art, keep doing service. Keep your head down and do your own thing, it will be over soon.

I just have to know: What’s with the water bottle Beija’s dragging around on page 179?

OMG GOOD QUESTION. That drawing is based on a polaroid I have of Beija’s leash tied to a giant empty water bottle at a yard sale. It was to slow her down if she tried to run away or run at a dog walking down the street.

Like I said, I really made do with the resources available to me!

If there’s one thing – a lesson, a feeling, an impulse, whatever – you hope that readers take away from this book, what would it be?

I hope that people can cultivate empathy for animals, even ones who are too complicated to pet.

Portland or LA: which city has the best vegan pizza?

I’m sticking with Portland. Because you can walk into Sizzle Pie and buy a slice, get an entire OUTRAGEOUSLY DELICIOUS cornmeal crust pizza at Dove Vivi, or go to Via Chicago and get your own Chicago deep dish.

If Los Angeles has equivalents to these that are within 20 minute drives of each other, I’d like to see them.

Book Review: Feminist Fables for the Twenty-First Century: The F Word Project by Maureen Burdock (2015)

Friday, June 30th, 2017

To quote Trina Robbins in the Forward: Let’s start a movement!

four out of five stars

(Full disclosure: I received a free copy of this book for review from the publisher, McFarland. Trigger warning for violence against girls and women, including rape.)

— 4.5 stars —

There are so many words that come to mind when I think of Maureen Burdock’s Feminist Fables for the Twenty-First Century – and, yes, many of them are f-words: Fierce, fiery, and fun. Fabulous. Force, as in one to be reckoned with. Feminist, naturally. But also intersectional and inclusive. In the spirit of solidarity and sisterhood. With music in the cafés at night/And revolution in the air. (Borrowing from yet another folk singer.)

Beginning with the Author’s Note, Feminist Fables sent chills dancing up and down my arms.

2017-06-12 - Feminist Fables - 0004 [flickr]

The five stories contained within its pages show women – of all ages, ethnicities, religions, sizes, and classes – working to combat misogyny in their communities and make the world a better place. In “Marta & the Missing,” a karate instructor named Marta decides to do what the police (including her own father) will not: hunt down the perpetrators of femicide in Juárez.

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“Maisa & the Most Daring Muslim Women” features a djinn who uses her culinary skills to save her daughter Lale from an honor killing. But once the young woman is made invisible, Maisa faces a new challenge: how to help her daughter be seen again.

2017-06-12 - Feminist Fables - 0005 [flickr]

The heroine of “Mona and the Little Smile” is just a child – one who uses her art to transform her reality, and those of other children like her: namely, victims of rape.

2017-06-12 - Feminist Fables - 0006 [FLICKR]

Meanwhile, Mumbi trains her literal butt off in order to score an upset at the Berlin marathon in “Mumbi & the Long Run.” Not for fame or glory, but for the cash prize – which she hopes will save her cousin Esther from female genital mutilation/cutting.

2017-06-12 - Feminist Fables - 0007 [flickr]

The collection ends with a personal story written by Halima Mohamed Abdel Rahman, a woman who was subjected to FGM at the age of six – and went on to attend college and become a freelance journalist and activist.

(More below the fold…)

Book Review: Bitch Planet, Volume 2: President Bitch by Kelly Sue DeConnick, Taki Soma, & Valentine De Landro

Tuesday, June 6th, 2017

“Lean in, can you hear it?”

five out of five stars

(Full disclosure: I received a free electronic galley for review through Edelweiss. Trigger warning for plot points involving rape, misogyny, and transphobia.)

About a month ago Goodreads started sending me emails every time I marked a book read: “You finished Heart-Shaped Box. What’s next?” Usually I just send them to the trash without a second thought; just another gimmick to increase engagement, you know? But the one for Bitch Planet? Kind of gave me pause.

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What comes next after that dope ass ending? I NEED TO KNOW! As for ideas on what we can do in the meantime? I’m down (though I somehow doubt that, say, volunteering as a clinic escort or showing up to your state capitol building in full Handmaid regalia will make Goodreads’ top ten suggestions).

So I really dug the first volume, Extraordinary Machine, when it came out in October 2015. I think I even pre-ordered it, something I rarely do, on the strength of DeConnick’s Pretty Deadly (which was released earlier that year, and I cannot recommend strongly enough). It was smart and unapologetic and feminist as fuck, with a diverse and believable cast of characters. (Black women are incarcerated at four times the rate of white women – a disparity that’s only like to worsen under the Protectorate.)

When I reread Extraordinary Machine prior to diving into the second volume, my love for it only grew*: in today’s political climate, wherein nearly 63 million of my fellow citizens voted a reality tv buffoon and admitted sexual assailant into the White House (due in no small part to a backlash against the first black President in addition to sexism and misogyny), dystopias like Bitch Planet seem more trenchant than ever.

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And President Bitch? Well, it’s even better than its predecessor. (With a name like that, was there any doubt?) Fittingly, the volume starts off with fallen hero Meiko’s backstory – which spans a full issue and includes a prominent trigger warning for rape. Equal parts heart-rending and amazing, it left me in awe of the entire Maki clan – father Makoto in particular.

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The narrative then picks up more or less where Extraordinary Machine left off, only shit doesn’t go down quite how you’d expect. Kam finds who/what she’s looking for (how did I miss that foreshadowing in Volume 1!?), the N.C.s realize they’re not the only “auxiliary compliance outpost” on their ship, and we meet President Bitch – a black woman who’s been labeled a terrorist by the (largely white, all-male) Protectorate. Naturally.

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Things go sideways before you can say “Illegitimi non carborundum,” and Volume 2 ends with a challenge, and a promise: as long as the women of earth and space have each other’s backs, the resistance lives. All hail President Bitch!

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Mini-Review: There Are More Beautiful Things Than Beyoncé, Morgan Parker (2017)

Monday, February 13th, 2017

“It’s mostly about machine tits”

four out of five stars

(Full disclosure: I received a free electronic ARC for review through NetGalley.)

This is for all the grown women out there
Whose countries hate them and their brothers
Who carry knives in their purses down the street
Maybe they will not get out alive
Maybe they will turn into air or news or brown flower petals
There are more beautiful things than Beyoncé:
Lavender, education, becoming other people,
The fucking sky

(“Please Wait (Or, There Are More Beautiful Things Than Beyoncé)”)

I don’t read a ton of poetry, since it mostly tends to go over my head. There are the rare exceptions, of course: stories written in verse, and the occasional feminist title; see, e.g. The Princess Saves Herself in this One. But mostly I shy away from it, since it makes me feel … not the sharpest tool in the shed.

That said, between the title and the cover, There Are More Beautiful Things Than Beyoncé proved pretty much impossible to pass up. While I’m sure I missed out on many of the cultural references – I’m white, and this is a collection of poetry about black womanhood – and didn’t pick up all the varied and more veiled messages that Parker was putting down, I enjoyed it all the same. I read it cover-to-cover three times in two days, and with each successive reading, discovered something new. Parker’s poetry sparkles and shines and cuts more deeply, the more time you spend with it.

It’s hard to play favorites, since each piece has at least one or two especially memorable lines. (To wit: “At school they learned that Black people happened.”) But among the poems that really stood out to me are Hottentot Venus; Beyoncé On The Line for Gaga; Afro; These Are Dangerous Times, Man; RoboBeyoncé; 13 Ways of Looking at a Black Girl; The Gospel According to Her; The Gospel of Jesus’s Wife; White Beyoncé; What Beyoncé Won’t Say on a Shrink’s Couch; It’s Getting Hot In Here So Take Off All Your Clothes; The Book of Revelation; 99 Problems; and the titular Please Wait (Or, There Are More Beautiful Things Than Beyoncé).

There are forty-two poems total, twenty-five of which have previously been published elsewhere. For those keeping count at home, thirteen have Beyoncé in the title. The Beyoncé/Lady Gaga mashups are fun, if only because I enjoy imagining them hanging together – or swapping bodies in a Freaky Friday twist.

I feel like I should say more but idk how to read poetry, let alone review it. There Are More Beautiful Things Than Beyoncé is a fierce, funny, and subversive collection of poetry. You don’t need to be a member of the Bey Hive to love it (but it sure doesn’t hurt). It’s earned a permanent spot on my Kindle so I can return to it as needed over the next four to eight (please dog no) years.

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Book Review: Wintersong, S. Jae-Jones (2017)

Monday, February 6th, 2017

“Such sensuous enjoyment.”

four out of five stars

(Full disclosure: I received a free electronic ARC for review through Netgalley.)

I surveyed my kingdom. Chaos. Cruelty. Abandon. I had always been holding back. Always been restrained. I wanted to be bigger, brighter, better; I wanted to be capricious, malicious, sly. Until now, I had not known the intoxicating sweetness of attention. In the world above, it had always been Käthe or Josef who captivated people’s eyes and hearts—Käthe with her beauty, Josef with his talent. I was forgotten, overlooked, ignored—the plain, drab, practical, talentless sister. But here in the Underground, I was the sun around which their world spun, the axis around which their maelstrom twirled. Liesl the girl had been dull, drab, and obedient; Elisabeth the woman was a queen.

“I may be just a maiden, mein Herr,” I whispered. “But I am a brave maiden.”

When Liesl’s younger sister Käthe is claimed by the Goblin King and kidnapped to the Underground, it’s up to Liesl to rescue her. After all, it’s Liesl and her mother who keep the family together and the inn running. Plain, drab, boring Liesl, who lacks Käthe’s voluptuous beauty, or her brother Josef’s virtuosity with the violin. Liesl, who composes her wild and untamed music only under the cloak of night; the music Josef polishes and performs to accolades, but for which Liesl seeks neither praise nor recognition. Like legions of unremarkable girls before her, Liesl labors in the background, her accomplishments usurped or denigrated by the men around her, depending on the circumstances.

Yet the Goblin King – Der Erlkönig, Lord of Mischief – sees Liesl for who she truly is: a unique talent, full of beauty and grace. A soul brimming with passion and wonder – and, yes, even anger and lust. A worthy opponent. The girl with whom he once sang and danced in Goblin Grove, all those years ago. The girl who forgot him – and her promise to him – once she traded in their silly childhood games for a mop and bucket and likely spinsterhood.

Liesl descends into the Underground on a sacrifice of sheet music, only to find that her mission to rescue Käthe is just the opening round of her game with Der Erlkönig. Once a mortal man, the Goblin King sacrificed his soul to bring peace to the world above. Now he is forever confined to the Underground, where he rules over the goblins and fae who once wreaked havoc on earth. But in order to turn the seasons, he requires a spark. Passion. A wife. Yet Der Erlkönig’s brave maidens do not survive long in the Underground – and, should Liesl succeed in freeing Käthe, he will need a replacement if spring is to come.

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Book Review: The One Hundred Nights of Hero, Isabel Greenberg (2016)

Friday, January 20th, 2017

Quite possibly the most beautiful graphic novel I’ve ever read. ALL THE STARS AND MOONS.

five out of five stars

(Full disclosure: I received a free copy of this book for review from the publisher. Trigger warning for threats of rape.)

They luxuriated sinfully in that most beautiful of all things: The written word.

All those stories you have told, all those wonderful stories…
They are nothing to OUR STORY. People will tell it in years to come…
And they will say, that was a story about Love.
And about two brave girls who wouldn’t take shit from anyone.

Lesson: Men are false. And they can get away with it.
Also, don’t murder your sister, even by accident. Sisters are important.

Once upon a time, thousands of years ago, in a land called Early Earth, there lived two star-crossed lovers: Cherry, a fair and lovely young woman from the Empire of Migdal Bavel, and her maid, Hero.

Despite her vaguely masculine name, Hero was a young woman as well – and a servant and runaway, at that – both conditions which conspired against their love. Cherry’s father insisted she marry a man who could provide for her; and so, after dodging his demands for one blissful summer (spent in the arms of Hero, of course), Cherry finally acquiesced. Luckily, Hero was able to accompany Cherry to the castle of her new husband, Jerome, where she stayed on as Cherry’s maid – and her secret lover. Like many of the men in Migdal Bavel, Jerome was a rather dim-witted and arrogant misogynist, you see, so Hero and Cherry were able to outwit him with minimal effort.

And then one day Jerome made a foolish bet with his friend Manfred, a man a little less stupid but a whole lot crueler than himself.

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If Manfred could seduce his ‘obedient and faithful’ (*snort!*) wife Cherry, then Manfred would win Jerome’s castle. If not, Manfred’s castle would become Jerome’s. Jerome would feign a business trip, giving Manfred a full one hundred days to execute his fiendish plot.

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Book Review: The Meaning of Michelle: 16 Writers on the Iconic First Lady and How Her Journey Inspires Our Own, Veronica Chambers, ed. (2017)

Friday, January 13th, 2017

A bittersweet love letter to the outgoing FLOTUS.

four out of five stars

(Full disclosure: I received a free electronic ARC for review through NetGalley. Trigger warning for discussions of racism and misogyny.)

Barack and Michelle Obama served this country for two terms as President and First Lady of the United States of America. Imagine that. America shaped in the image of a black man—with a black woman by his side. Even after eight years of watching them daily in the press, the fact that the most powerful man in the world is a Black man is still breathtaking to me. The fact that he goes home to a tight-knit, loving family headed by a Black woman is soul-stirring. That woman is Michelle. Michelle! That name now carries a whole world of meaning. And a whole world of memory. And a whole world of a magic.

(“Preface,” Ava Duvernay)

Thank you, Michelle, for showing a generation of women, including me and my daughter, what it means to dwell in possibility.

(“Acknowledgements,” Veronica Chambers)

For all of my adult life – the entire time I’ve been paying attention to politics, really – I’ve vastly preferred our president’s wives over their husbands: Hillary Clinton, Laura Bush, and now Michelle Obama. (The same will probably hold true of Melania, but it’s an impossibly low bar, okay.) No matter their political allegiances, the FLOTUSes (FLOTI?) tend to be a least a shade more progressive than their men, especially when it comes to “women’s issues” like reproductive freedom. Not that they’re allowed to voice these views: American prefers its First Ladies be seen, not heard, functioning as little more than their husbands’ appendages or cheerleaders. “Stepford Wives-in-Chief,” Tiffany Dufu puts it. Remember how viciously then-FLOTUS Hillary was shot down for daring to advance health care reform?

Michelle Obama is in a league of her own, though. Like many Americans, I was captivated with her from Day 1. I loved that she refused to play the role of the bland, devoted wife; a blank canvas onto which Americans/voters could project their versions of ideal femininity. She spoke of Barack like he was a regular guy, rather than an up-and-coming rockstar politician. Yet it was evident that these two crazy kids were deeply in love. She (and her family) was a lightning rod for every bit of racist and sexist excrement the right could throw at her, yet Michelle handled it with grace and finesse. We watched as Lady O. – and her style – evolved from first to second term; she went from high-power lawyer to high-fashion mom, as described by Tanisha C. Ford (“She Slays”). She had fun, was comfortable in her skin, and was perfectly imperfect.

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Book Review: Difficult Women, Roxane Gay (2017)

Monday, January 9th, 2017

Stories about survival; stories we need now more than ever.

five out of five stars

(Full disclosure: I received a free ARC for review through Netgalley. Trigger warning for domestic violence, child abuse, and rape.)

There once was a man. There is always some man.

You too have always been popular. I have seen the evidence in your childhood bedroom, meticulously preserved by your mother. Even now, you have packs of men following you, willing to make you their strange god. That is the only thing about you that scares me.

“I want a boy who will bring me a baby arm.”

“Honey, you’re not crazy. You’re a woman.”

Difficult Women brings together twenty-one short stories by Roxane Gay, all of which have previously been published elsewhere (or multiple elsewheres), most in slightly different forms and some under different titles. (I included the TOC at the bottom of this review; alternate titles are listed last, in parentheses.) However, the publications are so varied that it’s unlikely that you’ve seen, read, and/or own them all.

This is actually rather surprising to me, since the stories – published over a span of ~5 years – gel so well together. It really feels like each one was written specifically with this anthology in mind. The collection’s namesake, “Difficult Women,” perfectly encapsulates the spirit of the whole. Like the short story, this is book about loose women and frigid women; difficult women and crazy women; mothers and wives, daughters and dead girls. Women who have faced the unspeakable – rape and sexual assault; miscarriages or the death of a child; abuse and self-harm; alcoholism and alienation – and come out the other side. Not unscathed, but alive. These are stories of survival.

Usually I find anthologies to be somewhat uneven, but not so here. Every story grabs you by the heart and threatens to squeeze until it pops, right there in your chest cavity. Gay’s writing is raw and naked; grim, yet somehow, impossibly, imbued with hope. While some are straight-up contemporary, other tales are a strange, surreal mix of the real and unreal: In “I Am a Knife,” a woman fantasizes about cutting her twin’s fetus out of her body and transferring it to her own, the way she once did with the heart of a drunk driver who collided with their car, nearly killing her sister.

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Book Review: The Supergirls: Feminism, Fantasy, and the History of Comic Book Heroines (Revised and Updated), Mike Madrid (2016)

Wednesday, December 7th, 2016

Wonder Woman for President

four out of five stars

(Full disclosure: I received a free electronic ARC through Edelweiss and a finished copy through Library Thing’s Early Reviewers program.)

After The Supergirls came out, something interesting happened. I got emails from readers who had no idea that there had been female superheroes in the 1960s, much less in the 1940s.

This is a difficult book for me to review. I’m rather new to the world of comic books, having only gotten into them in the past five years or so. With the exception of Brian Azzarello’s New 52 Wonder Woman, I’ve mostly avoided the long-running superhero titles; the sheer volume is just overwhelming! Like, where to start?

(Incidentally, The Supergirls has convinced me to avoid anything not published in this millennium – again with the exception of Wonder Woman, or at least Wonder Woman as written by William Moulton Marston. The early stuff is almost comically sexist and not worth my time. Well, except for the occasionally bizarro plotline, like when Supergirl falls for her horse Comet. Tina Belcher would approve.)

Instead I mostly gravitate toward more recently created series (Saga, Sex Criminals, Pretty Deadly, Bitch Planet, Monstress) and those based on stories I know and love from other mediums (Firefly/Serenity, Orphan Black, Buffy the Vampire Slayer, Stephen King’s The Stand and The Dark Tower; I’m damn near jumping out of my skin waiting for Octavia Butler’s Kindred!). My knowledge of most superheroes and villains stems primarily from the big and little screen adaptations; Fox’s animated X-Men series is a childhood favorite.

That said, from my neophyte perspective, The Supergirls seems thorough, meticulously researched, and well-thought out. Madrid’s writing is fun and engaging, though The Supergirls is best digested in small bites: the scope of the topic can be overwhelming at times.

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Book Review: Slipping: Stories, Essays, & Other Writing, Lauren Beukes (2016)

Wednesday, November 30th, 2016

“I am fearfully and wonderfully made.”

four out of five stars

(Full disclosure: I received a free electronic ARC for review through NetGalley. Trigger warning for violence against women.)

a is for algebra

“It’s all equations,” she says. “It’s all explainable.” Like we could break down the whole universe into factors and exponents and multiples of x. Like there is no mystery to anything at all.

“Okay, what about love?” I shoot back, irritated at her practicality.

And she ripostes with: “Fine. xx + xy = xxx.”

She has to explain the bit about chromosomes. This is her idea of a dirty joke. Later, I wonder if this was also her idea of a come-on.

(“Alegbra”)

Don’t worry, she repeats, her back to him, laying out things with serrated edges and conducting pads and blunt wrenching teeth. You can’t dehumanize something that isn’t human.

(“Unaccounted”)

Pearl looks back at the protestors. One of the handwritten banners stays with her. “I am fearfully and wonderfully made,” it reads.

(“Slipping”)

I love Lauren Beukes, and I generally dig short stories – especially those belonging to the SF/dystopia genre. So I was pretty psyched to get my hands on an early copy of Slipping, Beukes’s very first collection of short fiction and non-fiction essays. (There’s also 2014’s Pop Tarts and Other Stories, which I’m not counting since it’s comprised of just three short stories – all of which appear here.)

Slipping starts off a little meh; not meh-bad, but meh-disappointing for a writer of this caliber. The titular “Slipping,” told from the POV of a sixteen-year-old girl who was recruited by investors and remade into a bio-engineered athlete after losing both legs in an accident, boasts some wonderful world-building – but the story’s religious aspects ultimately turned me off. Much to my relief, things start to pick up with the fourth story, “Branded” (corporate-sponsored nanotech) and mostly just get better from there.

The fiction generally has a science fiction/dystopian bent, with a few fantasy and contemporary pieces mixed in. There’s even a fairy tale of sorts: a modern-day retelling of “The Princess of the Pea” that’s both a critique of celebrity culture and an ode to female masturbation that (spoiler alert!) is all kinds of awesome. While all are unique and imaginative, a few themes are common across many of the stories: transhumanism, e.g. through technological advancements in prosthetics, nanotech, neuroanatomy, etc.; an erosion of privacy/the rise in the surveillance state; and a rise in corporate control, most notably over our bodies and selves.

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Book Review: Haters: Harassment, Abuse, and Violence Online, Bailey Poland (2016)

Wednesday, November 9th, 2016

“THE PERSONAL COMPUTER IS THE POLITICAL COMPUTER”

four out of five stars

(Full disclosure: I received a free electronic ARC for review through NetGalley. Trigger warning for discussions of sexism, misogyny, racism, homophobia, transphobia, harassment, and death and rape threats.)

When dealing with things like cybersexist abuse, it cannot be said often enough that there is no way to solve a problem without understanding it.

[I]t is worth noting that nearly every technological advancement throughout history has been seen as too liberating for women— and therefore dangerous.

Like many women who dare to voice an opinion online, Bailey Poland has first-hand experience with cyber-harassment and abuse. She typically gets a few dozen abusive tweets every night; when she briefly became the latest target of Gamergate, that number jumped to several hundred. She monitors the Twitter profiles and Facebook pages of past harassers on the daily, looking for signs that another wave of abuse is imminent. She and her activist friends have a sort of informal arrangement, where they tip each other off to possible threats. Dealing with the daily onslaught of abuse is tedious, demoralizing, and exhausting – and that’s kind of the point, from the harasser’s perspective.

One particularly dedicated misogynist harassed Poland for over a year, periodically sending her rape and death threats via Twitter. She finally decided to file a police report – and was lucky enough to get an officer who took her concerns seriously and was reasonably knowledgeable about the internet. (Either one is rare, but both together? Like an invisible pink unicorn!) Even so, nothing came of it; the department couldn’t even be bothered to keep Poland updated on its progress. And this represents a best-case scenario: the vast majority of victims don’t even get this far.

But Poland didn’t stop there: rather, she decided to make online harassment and abuse the topic of her first book. In Haters: Harassment, Abuse, and Violence Online, Poland explores the odious and often scary landscape of cybersexism. This encompasses not just the most egregious abuses: death and rape threats, doxxing and swatting, Gamergate and MRAs (and, now, the alt-right), but also more subtle forms of sexism and sexist microaggressions, such as mansplaining, talking over women, and dominating conversations. Even the very design of the internet – with its anything goes, Wild West type attitude – ignores women’s experiences and prioritizes men’s “freedom of speech” and self-expression over that of women and other marginalized groups.

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Mini-Review: Rad Women Worldwide, Kate Schatz & Miriam Klein Stahl (2016)

Saturday, November 5th, 2016

Kicking butt and taking names.

five out of five stars

(Full disclosure: I received a free book for review through Blogging for Books.)

When Kalpana Chawla’s math professor explained the concept of a “null set,” she used the example of a female Indian astronaut. There had never been one, so it was a classic case of a category that simply did not exist. “Who knows?” Kalpana exclaimed to her class. “One day this set may exist!” The other students laughed – they had no idea that their outspoken classmate would one day make history.

After the hate-fueled dumpster fire that has been the 2016 election cycle, a book like this is just what the psychologist ordered. In Rad Women Worldwide, Kate Schatz (pronounced ‘Shots’) profiles forty BAMF (you might say ‘nasty’) women, past and present, who have left their mark around the globe. They are mothers, daughters, and wives; activists, scientists, scholars, athletes, artists, and – yes! – pirates; women of all ages, races, nationalities, religions, and social classes; women who are every bit diverse as their accomplishments.

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A follow-up to 2015’s Rad American Women A-Z, Rad Women Worldwide deliberately takes a more international approach, as the title suggests. As soon as you open the book up, you’re treated to a map of the journey that’s to come. The trail hops from North to South America, Africa to Europe, Asia to Australia – and don’t forget Antarctica, too! You can follow the suggested route, or blaze your own path.

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Each woman (or group of women, such as the Guerilla Girls and the Madres de la Plaza de Mayo) receives a brief, one- or two-page write up. There are quite a few names I recognized off the bat (Venus and Serena Williams, Malala Yousafzai, Chimamanda Ngozi Adichie, Frida Kahlo, Marie Curie) as well as some that are new-to-me (Marta, Junko Tabei), and those that are familiar yet still unexpected (Emma Goldman, Poly Styrene). I especially loved the entry on Birute Mary Galdikas, since I was kind of obsessed with “Leakey’s Angels” as a teenager.

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Schatz’s biographies are accompanied by full-page illustrations by Miriam Klein Stahl. Stahl’s artwork is simple yet striking, consisting of stark, black and white portraits set against a single-color background, which really makes the portraits pop. Among my favorite images are those of Frida Kahlo and Bastardilla, which actually breaks with the overall style by focusing on the anonymous street artist’s graffiti rather than the artist herself.

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Though the writing feels geared toward a slightly younger audience – say, middle grade/junior high – I enjoyed the book immensely. Okay, that’s an understatement. Some of the entries legit had me in tears. (I blame my raw emotional state on the election, fwiw.) This is a book that parents will LOVE sharing with their kids.

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Also, can we talk about the cover? Not only is it bright and vibrant, but the embossed artwork on the hardcover adds extra texture and interest. I mean, it’s basically a written invitation to touch, handle, and caress. I also love that there’s no dust jacket, because I tend to rip or lose those things. Between this and the thick paper stock, you know they designed this book with younger readers in mind.

The synopsis for Rad American Women A-Z features a Lemony Snicket quote that works just as well here: “This is not a book. This is a guest list for a party of my heroes. Thank you for inviting us.”

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