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The no.1 Australian bestseller! Tara Moss's first work of non-fiction -- a fascinating mix of memoir and social comment -- is sparking conversation everywhere. What are your fictions? In her tenth book and first work of non-fiction, Tara Moss blends memoir and social analysis to examine the common fictions about women. She traces key moments in her life -- from small-town tomboy in Canada, to international fashion model in the 90s, to bestselling author taking a polygraph test in 2002 to prove she writes her own work -- and weaves her own experiences into a broader look at everyday sexism and issues surrounding the under-representation of women, modern motherhood, body image and the portrayal of women in politics, entertainment, advertising and the media. Deeply personal and revealing, this is more than just Tara Moss's own story. At once insightful, challenging and entertaining, she asks how we can change the old fictions, one woman at a time. 'Hits its mark with sharp-shooting precision ... Moss' skill is in marshalling the evidence and communicating it in a way that is accessible, warm, open, lucid and passionate ... Moss is a serious thinker' Dr Clare Wright, the Age 'A remarkable book - the kind that rewires your brain and its preconceptions in the best way possible. Intelligent, riveting and invigorating' Benjamin Law, Australian journalist and author 'This is a book which needs to be read by men and women. Well written, clearly argued, informative, powerful and thought provoking. Forget everything you thought you knew about Tara Moss, with the Fictional Woman, ttara sets the record straight and takes her place as one of our generations great commentators' John Purcell, Booktopia 'The most insightful book about women since the Feminine Mystique' Eve Mahlab, AO
Twenty-six stories by Mansfield, Wharton, Woolf, Porter, Lessing, Oates and others illuminate the special experience of being a woman.
From an entertainment writer, “an enjoyable read for anyone interested in pop culture, with particular relevance to those working to overcome struggles.” (Booklist) What does it mean for a woman to be strong—especially in a world where our conception of a “hero” is still so heavily influenced by male characters like Batman, Spider-Man, and Superman? Geek Girls Don’t Cry outlines some of the primary traits heroic women can call upon, like resilience, self-acceptance, and bravery, pulling in stories from real-life women as well as figures from the pop-culture pantheon. Written by Andrea Towers, who has worked for Marvel Entertainment and written about superheroines for such outlets as Entertainment Weekly, Geek Girls Don’t Cry also includes interviews with the creators of our favorite fictional heroines, who discuss how they came up with their inspiring characters and how their creations continue to inspire them. “In a market flush with biographical anthologies of awesome, powerful, and sometimes unknown women, Towers’ book stands out. She puts the creative in creative nonfiction as she takes the biographical details of fictional female characters and associates them with various real-life issues to empower and comfort readers.” —Booklist
Ian McEwan once said, 'When women stop reading, the novel will be dead.' This book explains how precious fiction is to contemporary women readers, and how they draw on it to tell the stories of their lives. Female readers are key to the future of fiction and—as parents, teachers, and librarians—the glue for a literate society. Women treasure the chance to read alone, but have also gregariously shared reading experiences and memories with mothers, daughters, grandchildren, and female friends. For so many, reading novels and short stories enables them to escape and to spread their wings intellectually and emotionally. This book, written by an experienced teacher, scholar of women's writing, and literature festival director, draws on over 500 interviews with and questionnaires from women readers and writers. It describes how, where, and when British women read fiction, and examines why stories and writers influence the way female readers understand and shape their own life stories. Taylor explores why women are the main buyers and readers of fiction, members of book clubs, attendees at literary festivals, and organisers of days out to fictional sites and writers' homes. The book analyses the special appeal and changing readership of the genres of romance, erotica, and crime. It also illuminates the reasons for British women's abiding love of two favourite novels, Pride and Prejudice and Jane Eyre. Taylor offers a cornucopia of witty and wise women's voices, of both readers themselves and also writers such as Hilary Mantel, Helen Dunmore, Katie Fforde, and Sarah Dunant. The book helps us understand why—in Jackie Kay's words—'our lives are mapped by books.'
From the Star Wars expanded universe to Westworld, the science fiction western has captivated audiences for more than fifty years. These twelve new essays concentrate on the female characters in the contemporary science fiction western, addressing themes of power, agency, intersectionality and the body. Discussing popular works such as Fringe, Guardians of the Galaxy and Mass Effect, the essayists shed new light on the gender dynamics of these beloved franchises, emphasizing inclusion and diversity with their critical perspectives.
Feminist science fiction is a rich space at the intersection of popular literature and feminist thought. This book examines this phenomenon, collecting work from all aspects of feminist SF - fiction poetry, criticism, fan-writing, even a recipe. It presents an international sampler of a vibrant form of women's writing.
Dorothy Richardson is existing just above the poverty line, doing secretarial work at a dentist's office and living in a seedy boarding house in Bloomsbury, when she is invited to spend the weekend with a childhood friend, Jane. Jane has recently married a writer who is on the brink of fame. His name is H.G. Wells, or Bertie, as they call him. Bertie appears unremarkable at first. But then Dorothy notices his grey-blue eyes taking her in, openly signalling approval. He tells her he and Jane have an agreement which allows them the freedom to take lovers, although Dorothy can tell her friend would not be happy with that arrangement. Not wanting to betray Jane, yet unable to draw back Dorothy free-falls into an affair with Bertie. Then a new boarder arrives at the house- beautiful Veronica Leslie-Jones-and Dorothy finds herself caught between Veronica and Bertie. Amidst the personal dramas and wreckage of a militant suffragette march, Dorothy finds her voice as a writer.
“What’s it like, not being real?” In LA, where today’s star is tomorrow’s busboy, discarded “Fictionals”—characters spun into flesh-and-blood by technology—are everywhere. Screenwriter Niles Golan’s therapist is a Fictional. So is his best friend. So (maybe) is the woman in the bar he can’t stop staring at. It’s getting so you can’t tell who’s real and who’s not. Niles isn’t completely sure how real he is… “A fascinating tour-de-force” ***** SFX Magazine “Worthy of comparison with Philip K. Dick” ***** Starburst Magazine “A breathtakingly clever writer” ***** Amazing Stories “A book you want to endlessly quote” ***** Den of Geek
If the author is 'dead', if feminism is 'post-', why does the figure of the woman author keep appearing as a central character in contemporary fiction? She is concerned with ownership but, equally, with loss; determined to enter the cultural field but also rejecting that field; looking for control but subject to duplicity; seeking power alongside desire. Drawing on a diverse range of contemporary authors - including Atwood, Byatt, Brookner, Coetzee, Lurie, LeGuin, Michèle Roberts, Shields, Spark, Weldon, Walker - this study explores the complexity and continuing fascination of this figure.
"This book traces the birth, growth, and decline of a genre of popular fiction that dominated American literary taste for at least a generation - a genre created by women and directed at them"--Cover.