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Kirkus Best Nonfiction Title of 2023 “Snyder shows us how to summon the courage to imagine in a cruel and dangerous world. A beautiful book.” -Patrick Radden Keefe, New York Times bestselling author of Rogues and Empire of Pain “A gorgeous memoir that parses the patriarchy with an endearing frankness as fierce as it is, astonishingly, forgiving.” -Beth Macy, New York Times bestselling author of Dopesick and Raising Lazarus For decades, journalist Rachel Louise Snyder has been a fierce advocate reporting on the darkest social issues that impact women's lives. Women We Buried, Women We Burned is her own story. When eight-year-old Rachel's mother died, her distraught father thrust the family into extreme evangelicalism. After a childhood marked by silent rage, teenage Rachel became outwardly furious. She was expelled from school and home at age sixteen. Living out of her car and relying on strangers, Rachel found herself masquerading as an adult, talking her way into college, and eventually traveling the globe. Survival became her reporter's beat. In places like India, Tibet, Niger, and Cambodia, she witnessed those who had been through the unimaginable choosing hope over despair. She returned to the States more appreciative of complexity, more generous, and open to the healing that would come from a most unexpected place.
WINNER OF THE HILLMAN PRIZE FOR BOOK JOURNALISM, THE HELEN BERNSTEIN BOOK AWARD, AND THE LUKAS WORK-IN-PROGRESS AWARD * A NEW YORK TIMES TOP 10 BOOKS OF THE YEAR * NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST * LOS ANGELES TIMES BOOK PRIZE FINALIST * ABA SILVER GAVEL AWARD FINALIST * KIRKUS PRIZE FINALIST NAMED ONE OF THE BEST BOOKS OF 2019 BY: Esquire, Amazon, Kirkus, Library Journal, Publishers Weekly, BookPage, BookRiot, Economist, New York Times Staff Critics “A seminal and breathtaking account of why home is the most dangerous place to be a woman . . . A tour de force.” -Eve Ensler "Terrifying, courageous reportage from our internal war zone." -Andrew Solomon "Extraordinary." -New York Times ,“Editors' Choice” “Gut-wrenching, required reading.” -Esquire "Compulsively readable . . . It will save lives." -Washington Post “Essential, devastating reading.” -Cheryl Strayed, New York Times Book Review An award-winning journalist's intimate investigation of the true scope of domestic violence, revealing how the roots of America's most pressing social crises are buried in abuse that happens behind closed doors. We call it domestic violence. We call it private violence. Sometimes we call it intimate terrorism. But whatever we call it, we generally do not believe it has anything at all to do with us, despite the World Health Organization deeming it a “global epidemic.” In America, domestic violence accounts for 15 percent of all violent crime, and yet it remains locked in silence, even as its tendrils reach unseen into so many of our most pressing national issues, from our economy to our education system, from mass shootings to mass incarceration to #MeToo. We still have not taken the true measure of this problem. In No Visible Bruises, journalist Rachel Louise Snyder gives context for what we don't know we're seeing. She frames this urgent and immersive account of the scale of domestic violence in our country around key stories that explode the common myths-that if things were bad enough, victims would just leave; that a violent person cannot become nonviolent; that shelter is an adequate response; and most insidiously that violence inside the home is a private matter, sealed from the public sphere and disconnected from other forms of violence. Through the stories of victims, perpetrators, law enforcement, and reform movements from across the country, Snyder explores the real roots of private violence, its far-reaching consequences for society, and what it will take to truly address it.
“A fascinating chronicle of the $55-billion-a-year global denim industry.” —David Futrelle, Los Angeles Times Rachel Louise Snyder reports from the far reaches of the multi-billion-dollar denim industry in search of the people who make your clothes. From a cotton picker in Azerbaijan to a Cambodian seamstress, a denim maker in Italy to a fashion designer in New York, Snyder captures the human, environmental, and political forces at work in a complex and often absurd world. Neither polemic nor prescription, Fugitive Denim captures what it means to work in the twenty-first century.
In her “keenly observed” (Star Tribune, Minneapolis) debut, Rachel Louise Snyder, author of the memoir Women We Buried, Women We Burned and the award-winning No Visible Bruises, chronicles the twenty-four hours following a mass burglary in a Chicago suburb and the suspicions, secrets, and prejudices that surface in its wake. Nestled on the edge of Chicago’s gritty west side, Oak Park is a suburb in flux. To the west, theaters and shops frame posh houses designed by Frank Lloyd Wright. To the east lies a neighborhood still recovering from urban decline. In the center of the community sits Ilios Lane, a pristine cul-de-sac dotted with quiet homes that bridge the surrounding extremes of wealth and poverty. On the first warm day in April, Mary Elizabeth McPherson, a lifelong resident of Ilios Lane, skips school with her friend Sofia. As the two experiment with a heavy dose of ecstasy in Mary Elizabeth’s dining room, a series of home invasions rocks their neighborhood. At first the community is determined to band together, but rising suspicions soon threaten to destroy the world they were attempting to create. Filtered through a vibrant pinwheel of characters, Snyder’s tour de force evokes the heightened tension of a community on edge as it builds towards an explosive conclusion. Incisive and panoramic, What We’ve Lost Is Nothing illuminates the evolving relationship between American cities and their suburbs, the hidden prejudices that can threaten a way of life, and the redemptive power of tolerance in a community torn asunder. “Ideas abound in this thoughtful story, a demonstration of the author’s years of experience as a community organizer. What We’ve Lost Is Nothing has the stamp of authenticity” (The Washington Post).
National Book Critics Circle Award Winner. “With dazzling clarity, [Chocano’s] commentary exposes the subliminal sexism on our pages and screens.”—O, The Oprah Magazine As a kid in the 1970s and 80s, Carina Chocano was confused by the mixed messages all around her that told her who she could be—and who she couldn’t. She grappled with sexed up sidekicks, princesses waiting to be saved, and morally infallible angels who seemed to have no opinions of their own. It wasn’t until she spent five years as a movie critic, and was laid off just after her daughter was born, however, that she really came to understand how the stories the culture tells us about what it means to be a girl limit our lives and shape our destinies. In You Play the Girl, Chocano blends formative personal stories with insightful and emotionally powerful analysis. Moving from Bugs Bunny to Playboy Bunnies, from Flashdance to Frozen, from the progressive ’70s through the backlash ’80s, the glib ’90s, and the pornified aughts—and at stops in between—she explains how growing up in the shadow of “the girl” taught her to think about herself and the world and what it means to raise a daughter in the face of these contorted reflections. In the tradition of Roxane Gay, Rebecca Solnit, and Susan Sontag, Chocano brilliantly shows that our identities are more fluid than we think, and certainly more complex than anything we see on any kind of screen. “If Hollywood’s treatment of women leaves you wanting, you’ll find good, heady company in You Play the Girl.”—Elle
Told in an inimitable voice, Leaving Breezy Street is the stunning account of Brenda Myers-Powell’s brutal and beautiful life. “Careful—don’t think prostitution is just about money. It’s never just the money. It’s about slipping in at all the wrong places. Getting into dangerous situations and getting out of them. That’s exciting. That’s what you want. But you want something else, too.” What did Brenda Myers-Powell want? When she turned to prostitution at the age of fifteen, she wanted to support her two baby daughters and have a little money for herself. She was pretty and funny as hell, and although she called herself “Breezy,” she was also tough—a survivor in every sense of the word. Over the next twenty-five years, she would move across the country, finding new pimps, parties, drugs, and endless, profound heartache. And she would begin to want something else, something huge: a life of dignity, self-acceptance, and love. Astonishingly, she managed to find the strength to break from an unsparing world and save not only herself but also future Breezys. We have no say into which worlds we are born. But sometimes we can find a way out.
Women Kind is a reminder that brilliant things happen when smart women get fed up. 'Women Kind is an impeccably researched love letter to those who hold up half the sky.' Jamila Rizvi 'Just like #CelebratingWomen, this book is an essential and timely reminder of the collective power of women.' Kate Jenkins, Australian Sex Discrimination Commissioner Women are rallying together in a massive and unstoppable force to make their voices heard around the world in ways we have never seen before. When Dr Kirstin Ferguson, an Australian company director, decided she was fed up with the vicious online abuse of women, she turned the tables and used social media to create the #CelebratingWomen campaign, profiling two women from anywhere in the world and every walk of life, every day for a year. The response was overwhelming. In Women Kind, Ferguson joins Walkley award-winning journalist and leading commentator on women in the workplace Catherine Fox to examine how women's shared clout is transforming communities, workplaces and leadership; show that every woman is a role model; and challenge the idea that women regularly turn on each other for scarce seats at the top table. Ferguson and Fox urge us to get on board and forget the old saying that when a woman climbs the corporate ladder, she needs to send it back down to help one other woman. What's needed is a fishing net to bring up many women together, all supporting each other. There has never been a better moment to join our voices, share experiences and celebrate the power of women supporting women.
These essays investigate the links between agency and race with regard to constructions of masculinity and femininity among radical groups resisting varied forms of political and economic domination. ********************************************************* * Building on the work of anthropologists, historians, sociologists, literary critics, and feminist philosophers of science, the essays in Women Out of Place: the Gender of Agency and Race of Nationality investigate the links between agency and race for what they reveal about constructions of masculinity and femininity and patterns of domesticity among groups seeking to resist varied forms of political and economic domination through a subnational ideology of racial and cultural redemption.
The basis of the Oscar-winning film from writer/director Sarah Polley, starring Rooney Mara, Claire Foy, Jessie Buckley, with Ben Whishaw and Frances McDormand. INTERNATIONAL BESTSELLER “This amazing, sad, shocking, but touching novel, based on a real-life event, could be right out of The Handmaid's Tale.” -Margaret Atwood, on Twitter "Scorching . . . a wry, freewheeling novel of ideas that touches on the nature of evil, questions of free will, collective responsibility, cultural determinism, and, above all, forgiveness." -New York Times Book Review, Editors' Choice One evening, eight Mennonite women climb into a hay loft to conduct a secret meeting. For the past two years, each of these women, and more than a hundred other girls in their colony, has been repeatedly violated in the night by demons coming to punish them for their sins. Now that the women have learned they were in fact drugged and attacked by a group of men from their own community, they are determined to protect themselves and their daughters from future harm. While the men of the colony are off in the city, attempting to raise enough money to bail out the rapists and bring them home, these women-all illiterate, without any knowledge of the world outside their community and unable even to speak the language of the country they live in-have very little time to make a choice: Should they stay in the only world they've ever known or should they dare to escape? Based on real events and told through the “minutes” of the women's all-female symposium, Toews's masterful novel uses wry, politically engaged humor to relate this tale of women claiming their own power to decide.