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10 best essay collections written by women to be inspired by

Covering perspectives on everything from sexual politics to race, these essays are provocative, enlightening and above all, truthful , article bookmarked.

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Essay collections are nothing new – writers have always wanted to write non-fiction pieces from their own point of view. But it is fair to say that essay collections among women seem to be enjoying something of a Golden Age.

Being heard as a woman has always been difficult and if the past couple of years post #MeToo has taught us anything, women are still being censored, ignored and erased.

Sexual politics crop up in almost any essay collection by a woman – how could they not? Unique perspectives on universal experiences – sex, work, identity, love – are what essayists do best. However, often it is the more niche topics that really allow an essayist to be at their best and most exposing – which is to say at their most vulnerable, from detailing how they take notes or how they make frittata or what they think of Shakespeare’s sisters, readers get to access a more personal side of what is so often political writing.

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Many of these essays cover race today – how it intersects with feminism or what it feels like to repeatedly feel shame when viewing yourself through the lens of White America.

Plenty of these collections offer advice on writing itself – and on reading and narrative.

Almost all of these collections are contemporary – with one exception, Slouching Towards Bethlehem , a collection of Joan Didion’s writing from the 1960s, which is a masterclass in essay-writing. We were looking for essays which were provocative, comforting, enlightening and above all, truthful – authours needed to clearly present opinion without straying into self-indulgence. Crucially, all of the essay collections here are by authors with a unique and distinct voice and all feel like little gifts from the writers.

You can trust our independent reviews. We may earn commission from some of the retailers, but we never allow this to influence selections, which are formed from real-world testing and expert advice. This revenue helps to fund journalism across The Independent.

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‘Minor Feelings’ by Cathy Park Hong, published by Profile Books

In this volume Korean-American writer and poet Park Hong presents Asian stereotypes as she sees them with a directness that lands like a sucker punch to the gut: “Asians lack presence. Asians take up apologetic space. We don’t even have enough presence to be considered real minorities.”

As a reader you feel totally panicked by the words – how can she write this? – but this is Park Hong’s shame as she sees herself as white America sees her.

Park Hong believes a sense of obedience is at the heart of white manipulation and oppression of Asians. But Park Hong is not obedient. She is candid, opinionated and emotional – all qualities she believes are not part of the Asian stereotype.

Park Hong manages to be very funny when talking about something so personally heart-breaking and systemically appalling. She describes her voice as “a kazoo” and speaks of audiences rushing for the door when her poetry reading is over. She recalls how she begged a Korean therapist to take her on as a patient (“‘Eunice!’ I shouted into the phone.”) because she felt she would be better understood – and doesn’t scrimp on the details of the pain of that rejection.

But although Park Hong’s experiences are naturally at the heart of the essays, she details the racism served up to Chinese workers in America the 1900s – including the example of a 15-year-old girl who was raped until her “body was hollowed out with syphilis” and she was “dumped out on the streets to die alone”. She also explains how Asians were essentially used as pawns by white supremacists during the Civil Rights Movement of the 1960s.

Park Hong also discusses how often Asians are lumped into one stereotype when the differences, prejudices and conflicts between the nations are complex and very real: “Most Americans… think Chinese is synecdoche for Asians the way Kleenex is for tissues. They don’t understand that we’re this tenuous alliance of many nationalities.”

A standout moment is where Park Hong explains that racism towards Asians is different than racism towards black people, especially as she does so without making any value judgements or suggestions about which is worse.

We learned so much from Minor Things , not least what a dazzling writer Cathy Park Hong is.

‘Coventry’ by Rachel Cusk, published by Faber

The first of Cusk's essays in this collection, Driving As Metaphor , focuses on the road – its users and their vehicles. It covers speeding, morality, road rage and even death. Only Cusk could make a piece about driving – not competitive or even risky driving, just bog standard quotidian driving – remotely interesting.

Later, On Rudeness beautifully examines manners, society and language while Making Home discusses women and nesting – what makes a home and how we live. Towards the end of the collection Cusk concentrates on specific writers and books. Notable is the essay on Elizabeth Gilbert’s bestselling memoir Eat, Pray, Love which Cusk describes rather brilliantly as employing “best friend language”, where secrets, embarrassments and disappointments are relayed in a humourous, knowing tone.

Towards the end of the essay Cusk rejects the idea that this sort of self-discovery memoir is anything but “a competition, at whose heart is a need to win.” Cusk points out that Gilbert is a “relentless cataloguer” of personal successes and questions how that makes her audiences feel given that they are cast as the admirers and not the admired.

But it is in the essay from which the volume takes its name that is the standout. Coventry dissects what it means to be given the silent treatment – with Cusk revealing that her own parents have periodically subjected her to this wordless purgatory. The authour's interest in and visiting of Coventry Cathedral, once grand and proud, decimated to nothing but shattered ruins in 1940 before being rebuilt, serves as the perfect motif here – and is further proof of her cleverness.

‘See What Can Be Done’ by Lorrie Moore, published by Faber

We loved the introduction, which explains where the volume’s title comes from – Robert Silvers, former editor of The New York Review of Books used to write the phrase at the bottom of his commissions to Moore – but it also allows us to understand more about how Moore goes about her criticism. It is somehow comforting to know that she doesn’t have any training in it and that she subscribes to no formula. She does however have a few self-imposed rules – seemingly minor things – that are likely to make you nod along in recognition or think oops – that’s me , such as avoiding internetese (informal internet speak), or “any form of the word ‘enjoy’”.

And we also love how this doesn’t need to be read in linear fashion. Instead you can dip in and out depending on your wont. That said, the opening essay is a banger if you’re a fan of Nora Ephron’s novel Heartburn . Moore’s 1983 review sums up the enduringly popular novel perfectly by discussing it as both a piece of art and a symbol of revenge.

As well as critical pieces with TV, film and literature as the focal point, the authour tackles huge topics such as memoir and writing itself, giving insight into Moore herself and her trajectory as a writer – “I preferred hearing about parties to actually going to them. I liked to phone the next day and get the news from a friend. I wanted gossip, third-handedness, narrative.”

Moore’s writing is accessible, clever and soothingly unpretentious.

‘Slouching towards Bethlehem’ by Joan Didion, published by 4th Estate

This collection of essays include long form reportage, as in the case of Some Dreamers of the Golden Dream where Didion lays bare the case of Lucille Miller – a woman jailed for the murder of her own husband against a backdrop of marital disappointment, intense religion and upward mobility in small town California.

These pieces are gripping stories of specific people in extraordinary circumstances, brilliantly told.

In other essays Didion is more introspective, using herself as subject matter and writing in the first person. In an essay on note taking, her sense of narrative is acute as she points out that “how it felt to me: that is getting closer to the truth about keeping a notebook”. Being able to see how this literary titan took notes is, without wishing to sound too hammy, a total privilege.

Although all of this writing is from before 1968, Didion’s prose feels relevant, sharp and timeless. There is little to nothing that feels dated about it. In fact, some of her sentences are nothing short of a joy – made to be read and reread repeatedly with an effortlessness that speaks to Didion’s talent.

‘Whose Story is this?’ by Rebecca Solnit published by Granta

Solnit’s essays have won plenty of praise in the past for their insight and relatability – and how cleverly she crystallises complex, messy or multifaceted ideas. This latest collection is no different.

It’s essentially a polemic on narrative control – and will likely have you performing the both-hands-raised-in-celebration emoji as finally someone says it, and says it well.

For example, Solnit is brilliant and incising on the difference between wokeness and goodness: “If you’re woke it’s because someone woke you up… It’s easy now to assume that one’s perspectives on race, gender, orientation and the rest are signs of inherent virtue but a lot of ideas currently in circulation are gifts that arrived recently through the labours of others.”

She takes no prisoners in her commentary on Weinstein and #MeToo, setting out a context in which “all the world is not a stage: backstage and beyond are important territories too”. It is horrifying when she describes male witnesses as somebodies, while women are nobodies – but it is horrifying because it is true. Women’s opinions don’t count. Their narratives are meaningless. Or were.

She gets right to the heart of who matters. She takes narrative and picks it up, examining it from all angles to decipher who gets to be heard, and who gets muted, erased.

The entire volume is relentlessly quotable – but it is harsh and brutal and sad too, like how she describes a hotel chain which has panic buttons for the female domestic staff who are assaulted by the rich male guests: “Supply and demand”.

Solnit is hopeful and addresses those who are afraid of a new world where white men won’t be the default controllers: “Some people are being left behind, not because the future is intolerant of them but because they are intolerant of this future”.

The verdict: Essay collections written by women

Our best buy goes to Minor Feelings because there is simply nothing else like it. Funny, horrifying and clever, Park Hong shines a light on the horrors of the small, minor feelings she has about being overlooked and in between and all the other things she has been taught are her fate as an Asian American.

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18 Essential Feminist Reads, According to 6 Feminist Authors

As the great bell hooks stated, “feminism is for everybody.” Indeed, every person on earth is affected by the patriarchy in some way—though certainly, some more so than others. Thanks to the work of renowned professor Kimberlé Crenshaw, society has begun to understand the myriad ways in which race, class, sexual orientation, and other individual characteristics intersect to aggravate oppression. But the point is, we are all tasked with the responsibility of creating a new, just reality in which sexism and oppression have no place.

So where to begin when seeking to learn the ins and outs of the feminist movement? And what books can someone turn to when yearning to go deeper into its implications? To help us chart a way forward, we asked six feminist authors—across a wide array of backgrounds and literary genres—to share a few of the books they regard as essential reading for understanding both the myriad manifestations of the female experience and the sustained importance of feminism. Here are their suggested must-reads —in their own words.

Kate Baer, Author of What Kind of Woman and I Hope This Finds You Well

Bad Feminist by Roxane Gay : By now, most have heard of writer, feminist, and cultural critic Roxane Gay. Known for her funny, insightful, and moving essays, her reach is ever expanding and necessary. This book in particular has become my go-to recommendation for anyone searching for memoir, humor, or essays on intersectional feminism. Gay also stands out for her acceptance of imperfection, noting, “I am a bad feminist. I would rather be a bad feminist than no feminist at all.” [It’s a] phenomenal read.

Feminism Is for Everybody by bell hooks: This book should be required reading for every high school student, every first-time mother and father, every woman, and every man. Pair it with Chimamanda Ngozi Adichie’s We Should All Be Feminists , and you’ll find the perfect place to start if you’re interested in feminist studies and [desire to be] well-read on the subject. This book is literally for everyone.

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Diving Into the Wreck: Poems 1971-1972 by Adrienne Rich: Reading any Adrienne Rich is like taking a shot of feminine rage—it leaves a burning in your belly and a face flushed with indignation. This collection in particular calls the reader to examine how both men and women contribute to a harmful patriarchy. “You worship the blood you call it hysterical bleeding / you want to drink it like milk / you dip your finger into it and write / you faint at the smell of it / you dream of dumping me into the sea.” To know Rich’s poetry is to know the power of language.

I Know Why the Caged Bird Sings by Maya Angelou: Angelou’s 1969 autobiography turned American classic is perhaps one of our country’s most important reads on racism, sexism, and identity. Not only is this book a master class on prose, it gives readers a poignant and nuanced look into the upbringing of a remarkable American woman. Incredible and worth a reread if it’s been a decade or two.

Leah Thomas , Author of The Intersectional Environmentalist

All About Love by bell hooks: This is one of the most transformational books I’ve read, which explores the question “What is love?,”—love for ourselves, for others, for society. For Black women living in a patriarchal society built on racism, learning to love ourselves is a revolutionary act. Taking the time to assess generational trauma and unhealthy relational dynamics, [working toward] receiving healthy love between ourselves, our communities, and others is crucial to promoting a society rooted in love vs. oppression. bell hooks is a feminist icon, and this book demonstrates how love can be a healing tool for not only ourselves, but society as a whole.

Their Eyes Were Watching God by Zora Neale Hurston: Black feminism flows throughout this book, even though it’s not explicitly stated. But the experiences of the main character, Janie, demonstrate the struggles of Black women navigating both gender-based and racial discrimination and their ongoing quest for respect, rights, and dignity in the U.S. It also touches on colorism and lateral oppression, dynamics that occur within a minority group; through Janie’s struggles and experiences, she gets closer and closer to expressing her independence and finding empowerment in a patriarchal and racist society.

Rebecca Solnit, Author of Men Explain Things to Me and Recollections of My Nonexistence

Women and Power by Mary Beard: Mary Beard’s “The Public Voice of Women” [from] her small volume Women and Power is a great summary of the history of the problem of unequal voices—unequal in who is allowed to speak, who is listened to, who is believed and respected—all central to questions of inequality.

Woman and Nature: The Roaring Inside Her by Susan Griffin: Susan Griffin’s furious, lyrical Woman and Nature: The Roaring Inside Her still gives us valuable ways to think about gender in relationship to speed, technology, violence, domestic animals, to all the metaphors and analogies that stitch our world together in often-constricting ways.

How to Raise a Feminist Son by Sonora Jha: I love Sonora Jha’s How to Raise a Feminist Son because it addresses something really important, that how we raise children to see themselves, others, and the world is a central act in making a better world, and so feminism is taking place in a billion tiny acts every day, everywhere.

Know My Name by Chanel Miller: Chanel Miller’s memoir Know My Name describes how an act of violence and violation against an individual can ripple through dozens of lives, how the legal system often serves as a long episode of punishment and degradation following the original attack, and how a young woman can find her voice and use it to define herself, reach out to others, and claim the power she deserves.

Gabriela García, Author of Of Women and Salt

The Selected Works of Audre Lorde edited by Roxane Gay: I first encountered Audre Lorde’s essays and speeches as a young woman coming into my own feminist politic, particularly Sister Outsider , often quoted but sometimes divorced of its radical underpinnings. But I’d never read her essays alongside her poetry as in this new collection, and I was struck by the resonances between them—how theory grounded in the communal makes way for poetics of yearning, seething, loving that is painstakingly personal yet grounded in collaborative liberation and care.

Diving Into the Wreck by Adrienne Rich: I turn to Adrienne Rich’s poems often, and almost half a century after its publication, Diving Into the Wreck still strikes me as an utterly relevant exploration of both patriarchal power and mythology, and the complicated contours of feminine interiority. Rich explored varied territory–motherhood, the figure of daughter-in-law, the mechanical processing of a sexual assault by a cop–with language that was precise, incisive, and nuanced; the poems in this collection yield new insights each time I revisit.

Angela Garbes, Author of Like a Mother: A Feminist Journey Through the Science and Culture of Pregnancy and Essential Labor: Mothering as Social Change (Forthcoming May 2022)

Minor Feelings by Cathy Park Hong: Reading Minor Feelings in early 2020, just after it was published, I experienced the rare, intense pleasure of realizing, with each page, that it would be canonical to me. Here was the confusion, hypervigilance, desire, and pride and painful self-awareness that defines my (I thought) illegible, private journey into consciousness excised and biopsied with microscopic precision. Each essay is specific to Hong's experience as a Korean American woman, but as a Filipina American I am equally included and implicated. Here too, is anger—anger Asian women are not publicly entitled to, that increasingly threatens to consume us—finally directed outward, sublimated into powerful, destabilizing art.

“Welfare is a Women’s Issue,” essay by Johnnie Tillmon: Since the 1960s, mainstream American feminism has preached satisfaction and self-expression through work outside the home, a “lean-in” approach that values personal growth and gain. The beneficiaries have primarily been white women, as this empowerment has relied on outsourcing domestic labor to women of color at low wages. We hear a lot about Betty Friedan and The Feminine Mystique but far less about women such as Johnnie Tillmon and the National Welfare Rights Organization who, working at the same time, developed a platform for a Guaranteed Adequate Income to benefit all Americans. This essay, published in Ms. Magazine in 1972, shows that true feminism—inclusive and aimed at capitalist patriarchy’s root—can change everything. That, in Tillmon’s words, “Maybe it is we poor welfare women who will really liberate women in this country.”

“Uses of the Erotic: The Erotic as Power,” from Sister Outsider , by Audre Lorde: “ As women, we have come to distrust that power which rises from our deepest and nonrational knowledge,” Lorde writes. “Uses of the Erotic” instantly clarified something I had always suspected as a young woman: that the feeling of being “too much,” too emotional, too dark, too big, too sensitive, was not actually a problem. That it may actually be my great power. This essay is a loving, sensual invitation for all of us to see that we are not in conflict with ourselves, but with a culture that insists we'd be better off without our bodies. It’s true that all of Sister Outsider is essential reading, but I recommend doubling down and going deep on “Uses of the Erotic,” a short essay so densely packed with provocations and dares to live a full, embodied, and pleasurable physical life that I still marvel at it—and Lorde’s power—with every reading.

Zaina Arafat, Author of You Exist Too Much

Master of the Eclipse , Etel Adnan: The stories in Lebanese poet Etel Adnan’s Master of the Eclipse subversively resist an ingrained patriarchy through romantic relationships and female friendships. What results is a cauldron of displacement, nostalgia, love, and loss, all manifested in the trajectories of empowered female characters.

Meaty: Essays by Samantha Irby: This book, like so much of Irby’s work, delves into the unruly and at times uncooperative female body, along with love of food. By unabashedly displaying societally deemed “shameful” acts and realities, Irby empowers us to do the same, and to embrace our own bodily chaos and appetites.

Chloe Caldwell, The Red Zone: A Love Story (forthcoming April 2022): The necessity and urgency of The Red Zone made me wonder how I—or any woman—had lived so long without it. Through the lens of PMDD [premenstrual dysphoric disorder] and the female body, Caldwell refracts every issue imaginable, from relationships to hormones to queerness to stepmotherhood to blended families, all with hilarity, intimacy, and depth. Feeling seen by this book is an understatement; it’s a survival guide.

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50 best feminist books to dismantle the patriarchy.

Throughout its turbulent history, feminist books have stood at the cutting-edge of feminism. Contemporary readers of landmark texts, such as The Feminine Mystique or Sister Outsider , found themselves swept up in a revolution, pioneered by radical female writers wielding a pen. Decades later, and joined by a legion of diverse new feminist voices, these fearless and passionate texts still feel like a call-to-arms — a rallying cry to all women trying to find their place or fight for liberation. 

Whether you’re a fan of fiction or nonfiction books , memoirs, poetry, essays, or novels, the feminist books on this list will guide you along the winding path of the feminism — as experienced by women from all walks of life, of all races, ages, and identities — and into the 21st century. 

1. The Handmaid's Tale by Margaret Atwood

A gold-standard of feminist fiction and now a critically acclaimed TV series, The Handmaid’s Tale follows Offred, a member of the fertile, female servant class that is treated as breeding stock by an oppressive, near-future society — all in the name of replenishing the diminished population. At a time when the reproductive rights of women are still politically contentious, this dystopian novel is a disturbing reminder of what society often considers a woman’s worth.

2. Little Women by Louisa May Alcott

When Alcott told the story of Jo, Beth, Meg, and Amy in 1868, she may not have intended to write a feminist book; nevertheless, Little Women has danced its way into the hearts of feminists for generations. Certainly, in the 2019 film adaptation it’s given new feminist fire, as Greta Gerwig shows how Alcott’s bold, loving, unconventional sisters can teach us there are many ways to be a woman. Read the book. Watch the film. Do both — in any order. Just make sure you consume Little Women .

3. The Bell Jar by Sylvia Plath

Plath’s seminal novel tells the story of Esther Greenwood’s descent into mental illness in astute and haunting prose. An aspiring writer whose dreams are stifled by her misogynistic society, Esther’s story encapsulates the desire and disillusionment of being a young woman — which is why it has become a quintessential novel for young feminists. The Guardian has called The Bell Jar a ‘tormented footnote to Plath’s tormented poetry’; but it is also a work of undoubted literary brilliance that stands alone as a classic feminist book.

4. The Bluest Eye by Toni Morrison

Morrison’s debut novel immerses us in the tragic, torn life of Pecola Breedlove — a poor, young black girl living in 1940s Ohio. Internalizing the ugliness put on her by society, Pecola longs for blue eyes; and it’s this impossible desire that drives her to the point of breakdown. The Bluest Eye forces us to confront how damaging racialized notions of beauty can be and makes race (and youth) central to the discussion of gender disparity. Of course, it’s couched in what became the signature poetic prose of this Nobel Prize-winning author.

5. The Awakening by Kate Chopin

Restless, twentysomething Edna is summering at a resort on the steamy coast of Louisiana when she catches the eye of the resort owner’s son — it’s the perfect backdrop for a romantic comedy, except this story of personal discovery and sexual intrigue has a dangerous undercurrent. Edna is a Victorian mother and wife, who had resigned herself to a languid life before the summer of her awakening. Now, she vibrates with the desire to have a room of her own, to smash a vase, to break the rules. Although The Awakening was published on the turn of the 20th century, this feminist book still hits its mark. A desire to smash the patriarchy? Relatable.

6. Wayward Girls & Wicked Women by Angela Carter

This marvelous collection of short stories was edited by titan of feminist books Angela Carter, and reflects her deliciously anarchic taste. From authors including Jamaica Kincaid, Katherine Mansfield, and Ama Ata Aidoo, every one of these subversive tales extols the female virtues of discontent, disruptiveness, and general bad-manners, and restores wayward girls and wicked women to their rightful position as role models. Because who wants to be ‘nice’ when you can be clever, cunning, and interesting?

7. The Yellow Wallpaper by Charlotte Perkins Gilman

Another early feminist classic with enduring appeal, Gilman’s 6,000 word masterpiece tells the story of a young woman whose husband confines her to a nursery as treatment for postnatal depression. With a strict ban on reading, painting, and, if it can be managed, thinking (her secret diary being her only outlet), the narrator’s ravenous imagination is at the mercy of unnamed terrors. 

Frighteningly, The Yellow Wallpaper was based on the author’s own experiences, and in 1890 its story caused feminist fireworks among women forced to be docile. But today, it takes on a new urgency, speaking to the current discussion of gaslighting and coercive control.

8. The Color Purple by Alice Walker

Set in segregated Georgia, The Color Purple follows Celie, a young black woman born into poverty. As mother, sister, and wife, Celie suffers from unimaginable hardship, until she meets singer and magic-maker Shug Avery, who teaches her to harness the power of her own spirit and take control of her destiny. In this haunting and lyrical novel, Walker, who calls herself a ‘womanist’, portrays the oppression and triumphs of black women, the horrors of physical and sexual abuse, and the ongoing struggle to overcome the double jeopardy of racism and sexism.

9. Circe by Madeline Miller

An ancient Greek myth gets a fresh coat of feminist paint in this thoroughly modern retelling of Circe’s story. A player in the lives of both heroes and gods, Circe is a figure apart, a character steeped in magic and mystery, a source of fascination — and yet, one of the ancient world’s most deeply misunderstood deities. Until now. Madeline Miller, bestselling author of The Song of Achilles, returns to breathe new life into Circe, giving her the power to command her own story, and translating yet another male-centred myth into something startlingly feminine.

10. The Vagina Monologues by Eve Ensler

Keeping with the theme of the untraditional, Eve Ensler’s The Vagina Monologues is an episodic play that gathers the stories of real women — from different ages, races, identities, and experiences — to explore female sexuality in all its complexity. Delving into topics as deeply essential as sexual consent, body image, sex work, and reproduction, Ensler’s work has become a major feminist touchpoint since its debut in 1996. Come for the incredible title, and stay to hear the eloquent and hilarious voice of womankind.

11. The Bloody Chamber by Angela Carter

From ancient myths to fairytales, a feminist take on a ‘tale as old as time’ will always be welcome on our shelves; and Angela Carter’s 1979 collection of darkly erotic stories contains some of the most fiercely imaginative examples of the style. In The Bloody Chamber you’ll find all the bedtime stories of your childhood newly configured as gothic tales of sex and violence. Their heroines — a murderous Red Riding Hood, a beastly Belle, a vampiric Sleeping Beauty — struggle out of the straitjackets of history and ideology, and turn the tables on tradition.

12. The Golden Notebook by Doris Lessing

Though Lessing insisted The Golden Notebook was never intended to be a “weapon in the sex war”, her epic of the female experience spoke to the women’s movement of the 1960s with a visionary fire, and has since been hailed as a landmark feminist book. 

Living in 1950s London, Anna Wulf is a divorced single mother, and a novelist struggling with writer’s block . Fearing chaos, formlessness, and mental collapse, she separates her life into four notebooks; but it is the fifth, the golden notebook, that will pull the wayward strands of her life together and open the door to freedom.

13. The Witch Doesn't Burn in This One by Amanda Lovelace

Amanda Lovelace calls all women to arms in her fiery poetry collection encouraging strength and resilience among women, and empowering them to reclaim their minds, their bodies, and their stories. In a world where women are still marginalized and oppressed, The Witch Doesn’t Burn in This One provides a much needed rebellious spark. So give it a read; then tell all your friends to give it a read. This is the self-love potion we didn’t know we needed, but absolutely do.

14. The Complete Poems of Emily Dickinson

Though exciting new voices like Amanda Lovelace are exploding onto the poetry scene, the poems of Emily Dickinson are as refreshing and relevant today as they were in 1840. Still one of the most daring voices ever to craft a couplet, Dickinson used her poetry to rebel against the dreariness of everyday life, and to rupture the boundaries between male and female writing styles. In doing so, she inspired generations of young women and laid the groundwork for a host of contemporary women writers . If you don’t want to read all of Emily Dickinson’s poems (though we can think of worse ways to spend our time), we’d recommend My Life had stood- a Loaded Gun .

15. The World's Wife by Carol Ann Duffy

Ask who was at the shops in the run up to Christmas and you might hear “Oh, the world and his wife”. But poet laureate Carol Ann Duffy challenges this patriarchal language picture with three simple words, the title of her 1999 collection, The World’s Wife . The cheeky, exuberant, subversive poems in this anthology hand over to the women behind the scenes, behind the throne, behind history. From the adoring Queen Kong to the lascivious Frau Freud, from the angry and ignored to the sure-footed and sexy, Duffy’s irresistible collection proves that behind every famous man there is in fact a great woman.

16. Dialectic of the Flesh by Roz Kaveney

Dialectic of the Flesh is a beautiful and intimate exploration of queer and trans existence through verse. Though Roz Gaveney’s collection is pocket-sized (31 poems in all), her poems run the gamut of emotions: elegies of abandonment and loss traverse pathways dark and guttural, while celebrations of love and sex are witty, exuberant, and wistful. Gaveney also showcases her versatility by dancing between carefully-constructed sonnet variations and villanelles, and free verse narratives. A collection not to be missed!

Young Adult Fiction

17. asking for it by louise o'neill.

Asking For It is the kind of book you devour, but not the kind you enjoy. Not because it isn’t well written — Louise O’Neill is fearless and moving — but because it tells a devastating story about rape culture and victim blaming that is uncomfortable and heart-breaking to read (while still incredibly important). Its discomfort is in part due to the fact that O’Neill doesn’t write about a sweet girl in the wrong place at the wrong time. Asking For It is about Emma O’ Donovan, a nasty, shallow girl, a bully, liar, and cheat, and even the reader can’t help but wonder, if only for a terrible, fleeting moment, whether she was at fault on the night she was assaulted.

18. Things a Bright Girl Can Do by Sally Nicholls

Nicholls breathes new life into the story of the Suffragette and Suffragists movements in her historical YA novel, Things a Bright Girl Can Do . She sees the rallies and marches, the freezing prison cells, the East End slums, and the stifling drawing rooms of Edwardian Britain through the eyes of three courageous young women who join the fight for the vote. Though they come from different walks of life, they all dream of a world where women are considered equal. Nicholls imbues this exhilarating era of change with gripping drama that brings the past fiercely to life.

19. Furious Thing by Jenny Downham

If Before I Die did not cement Downham’s reputation as an influential voice in young adult fiction , then this explosive novel certainly will. Furious Thing follows Lexi, a girl who is angry for reasons she cannot understand. Though she tries to swallow her temper, it simmers below the surface just waiting to erupt. What will happen if Lexi decides to take up space and make herself heard? 

A sensitive and thought-provoking narrative about modern issues, including anger-management and gaslighting, Furious Thing roars with anger at an unfair world that is constantly letting girls down.

20. Sister Outsider by Audre Lorde

In recent years, the call for intersectional feminism has been louder than ever, with an increasingly diverse range of voices contributing to the ongoing conversation. A lot of that is down to the work of writers like Audre Lorde, whose iconic collection of essays and speeches is considered a cornerstone of intersectional feminism. Sister Outsider reflects on sexism, racism, class, and homophobia; it also discusses the use of anger, the problems inherent in white feminism, and her own experience as a Black lesbian; but ultimately, Lorde’s message is one of hope.

21. Eat, Pray, Love by Elizabeth Gilbert

Millions of women have fallen in love with this story, whether because of Julia Roberts’ winning smile, or Gilbert’s writing, which propounds a kind of literary incarnation of a best friend. An intimate memoir of breakdown and recovery, Eat Pray Love follows Gilbert on a voyage to find her true self: from her bathroom floor and the end of a perfect marriage, to Italy, India, and Indonesia, three beautiful backdrops against which she explores aspects of herself that have been missing. Pleasure in Italy, devotion in India, and balance in Indonesia — a powerful trinity for the 21st century woman.

22. A Room of One's Own by Virginia Woolf

Virginia Woolf’s transgressive and mischievous essay is now a landmark work of feminist literary critique, but it started life as a series of lectures given to Cambridge’s female colleges. Woolf takes on the established thought of the time — that women are inherently lesser writers — by asserting women’s creative originality and pointing to the systemic education and economic failures that stifled them. Her analysis is light, glancing, and even funny, despite its urgency and passion. At a juncture in her argument she offers the key to female creative liberation: A Room of One’s Own.

23. Men Explain Things to Me by Rebecca Solnit

If you’ve ever used the term “mansplaining” to describe the condescending efforts of a man to explain something to a woman, then you’ve got Rebecca Solnit to thank. Her collection of hilarious, rage-inducing essays, Men Explain Things to Me , not only coined this iconic term, but has also come to be considered as one of the best feminist books. 

Solnit delves into some of the biggest themes of the modern feminist experience, including marriage equality, the erasure of women from history, and the titular topic of having your expertise explained to you, often in patronizing terms. According to Solnit, it’s due to a combination of “overconfidence and cluelessness”. I think we all know a guy.

24. The Second Sex by Simone De Beauvoir

Published in 1949, The Second Sex began as an autobiographical essay in which author and philosopher Simone De Beauvoir explored why she had always thought of herself as a woman before anything else. As she combined personal observation with critical theory, it grew into a groundbreaking study of the unequal treatment of women throughout history, and “the problem of woman,” which, as De Beauvoir put it, “has always been the problem of men.” The Second Sex is an essential feminist book.

25. The Feminine Mystique by Betty Friedan

Betty Friedan confessed in 1973 that until she started writing The Feminine Mystique , she wasn’t even conscious of “the woman problem”: “I thought there was something wrong with me because I didn’t have an orgasm waxing the kitchen floor,” she said. In fact, many American women felt the same, and just as writing this book opened Friedan’s eyes, the women who read it were swept up in a new wave of feminism. The Feminine Mystique captured the frustration of middle-class American housewives afraid to ask themselves the question “Is this all?”, and exhorted them to make change happen for themselves.

26. Women, Culture, and Politics by Angela Y. Davis

A scholar and an activist, Angela Davis earned herself a place among the most important feminist voices of our era with her brilliant, biting prose, and Women, Culture and Politcs is perhaps her best feminist book. A collection of speeches and essays penned in 1989, it addresses the political and social shifts of the late 20th century, and the ways in which they changed conversations around the struggle for racial, sexual and economic equality.

27. This Bridge Called My Back

This Bridge Called My Back is a collection of personal essays, criticisms, poetry, and visual art from radical women of colour, including influential feminist writers such as Naomi Littlebear Morena, Audre Lorde, and Barbara Smith. Together they explore the intersections between gender, race, sexism, and class, and how these intersections influence the way they understand the world, as well as how the world understands them. This anthology is considered one of the landmark texts of Third Wave feminism, and continues to shape today’s feminist landscape.

28. The Female Eunuch by Germaine Greer

When Greer’s landmark feminist book, The Female Eunuch, hit the shelves in 1970, it immediately made waves with its shocking conclusion: that the traditional nuclear family is a tool of female oppression, and that the key to female liberation is sexual liberation. Erudite, outrageous, and sensible, Greer’s unflinching polemic transformed women’s lives. Sure, her call for women to taste their own menstrual blood might not have caught on, but if you’re asking whether The Female Eunuch still speaks to the modern feminist — the answer is yes.

29. Redefining Realness by Janet Mock

One of America’s most recognizable trans activists, Janet Mock relays her experiences growing up as a multiracial, poor, trans woman in her brave and moving autobiography, Redefining Realness. Though this is undoubtedly an account of one woman’s experience of womanhood, and her own quest to a sense of self, Mock manages to break ground for anyone and everyone who is marginalized and misunderstood, and is fighting to define themselves on their own terms.

30. Gender Outlaw by Kate Bornstein

In a society that insists we be either ‘man’ or ‘woman’, Kate Bornstein describes herself as a “nonbinary transfeminine diesel femme dyke”. On the surface, Gender Outlaw is the story of her transformation from being viewed as a heterosexual male to realizing she was a lesbian female; but below the surface, Bornstein never stops questioning our rigid expectations of a gender binary, and gently pushing us towards the furthest borders of the gender frontier. Though Gender Outlaw is a provocative and radical investigation into the notions of ‘man’ and ‘woman’, it is also funny, fearless, and wonderfully scenic.

31. The Madwoman in the Attic by Sandra M. Gilbert

Gilbert and Gubar’s The Madwoman in the Attic is a classic feminist book of literary criticism that looks at the portrayal of female characters by Victorian women writers. By applying a feminist lens to these 19th century novels, the authors not only change the way we think about the books themselves and their female characters, but also force us to look again at the grandes dames of English literature, whom, they suggest, have distinctly feminine imaginations. Originally published in 1979, The Madwoman in the Attic continues to tread the path for scholars some four decades later.

32. Colonize This!

It has been decades since women of color first turned feminism on its head, calling out the movement of the 70s for being white and exclusive. Colonize This! offers a much-needed refresh in its gripping and intimate portraits of American life, as seen through the eyes of young women of color. Daisy Hernandez and Bushra Rehman have gathered a brilliant and diverse  group of young feminist voices who speak to the concerns of a 21st century feminism — one that fosters freedom and agency for women of all races.

33. On Intersectionality by Kimberlé Crenshaw

As well as looking forward to the feminism of the future, sometimes it is just as important to look back at key turning points in its history. In 1989, Kimberlé Crenshaw coined the term intersectionality — a hugely influential approach to understanding discrimination in a society whose members experience bias in any combination of ways, as a result of race, gender or sexuality. In this collection of Crenshaw’s writing, readers will find essays and articles that provide a comprehensive and accessible introduction to a brilliant theorist and her critical work.

34. Headscarves and Hymens by Mona Eltahawy

Egyptian-American journalist and activist Mona Eltahawy is a fearless fighter for women’s rights. After making headlines in 2011 when she was arrested, beaten and sexually assaulted during the Egyptian revolution, she wrote a brave and impassioned article titled “Why Do They Hate Us?” — where “they” is Muslim men and “us” is women. Headscarves and Hymens is a book-length expansion of this article, in which she takes aim both at religious misogyny in the Middle East and at western liberals who mistake this misogyny for cultural difference. This fearless roar-to-arms sets her own experiences alongside those of dozens of other women, giving a laceratingly honest account of what it’s like to be a woman in the Muslim world.

35. Down Girl: The Logic of Misogyny by Kate Manne

What is misogyny? Who deserves to be called a misogynist? How does misogyny differ from sexism? Kate Manne explores all these questions in her forensic analysis of the logic of misogyny; but her guiding question, more straightforward and more troubling, is “Why is misogyny still a thing?” 

Manne argues that we should put individual men to one side, that we should stop treating hostility towards women as a psychological characteristic, and that we should put the focus on how women who challenge male dominance are policed by society. Down Girl is an essential feminist book for the #MeToo era.

36. Notorious RBG by Irin Carmon and Shana Knizhnik

When it comes to modern feminist icons, few spring to mind more readily than Ruth Bader Ginsburg. Even those of us who were born long after her appointments to the Supreme Court have fallen in love in recent years with her tenacious spirit, drive for equality, and sharp humor. In Notorious RBG , Carmon and Knizhnik bring what was once a playful Tumblr blog into a fully realized portrait of this fiercely inspiring woman. Through a fascinating combination of narrative, photographs, interviews, and even Justice Ginsburg’s own dissents, this book shows you a beloved icon in a new light — one that paints her as, somehow, even more remarkable than we already knew she was.

37. I Am Malala by Malala Yousafzai

These days, it’s hard to imagine that one person has the power to change the world, but reading I am Malala may just leave you feeling hopeful. This personal and deeply inspiring tale recounts Malala’s fight for a proper education — a fight she never should have had to enter into, but one that she braved with such fierce determination that her name is spoken with reverence in all corners of the globe. Through her own words, Malala recalls the now infamous shooting, her recovery, and the unparalleled journey of advocacy and feminist championing that followed.

38. Bossypants by Tina Fey

Endlessly talented and wickedly funny, Tina Fey has been entertaining and inspiring women for years. From her often-too-relatable portrayal of Liz Lemon to her years mixing it up on SNL, it seems there’s no comedy role that’s beyond her. Now, in Bossypants , we get a glimpse behind the many faces she’s worn over the years and discover, to our delight, that she’s every bit as amazing as we were always hoping she would be. Full of behind-the-scenes insight into all our favorite Fey moments, Bossypants will delight from first page to last.

39. Everyday Sexism by Laura Bates

Perhaps one of the most frustrating things to explain about sexism is that it doesn’t always come in the overt, chauvinist-pig wrapper that society likes to wrap it in. In fact, it normally hits us in quiet, everyday sort of ways that are almost impossible to explain, but that every woman knows. Started as a website in 2012, Everyday Sexism is one woman’s attempt to gather what it really looks like, through shared anecdotes of women from all walks of life, who’ve been told in subtle and pervasive ways that they’re “less than.” Both eye-opening and all too familiar, this book is not to be ignored.

40. This Will Be My Undoing by Morgan Jerkins

We all know that living with a marginalized identity is hard. But try combining those identities — in Jerkins’ case, being both Black and a woman — and suddenly the ante is raised even higher. With aggressions coming at you from all sides, the simple act of living your life becomes political. In this interconnected series of essays, Jerkins takes you through the raw reality of her life, exposing the double standards, hypocrisy, and demonization Black women face every day. This Will Be My Undoing is a vital piece of writing, and one that feminists, especially white feminists, should be sure to pick up and take to heart as they strive to build a better world for all women.

41. Gender Trouble by Judith Butler

Judith Butler is synonymous with the feminist movement: since the 1970s, the trailblazing philosopher has written over 20 influential books that challenge traditional gender conventions and defy gender performativity. Though each is a must-read, we recommend that you start with Gender Trouble: Feminism and the Subversion of Identity . A foundational work in feminist and queer theory, Gender Trouble disrupts the gender binary, arguing that “gender” itself is a performative construct. Written in 1990, its groundbreaking arguments are as important — and relevant — to understand now as they were then.

42. The Beauty Myth by Naomi Wolf

Called the “most important feminist publication since The Female Eunuch ” by Germaine Greer, The Beauty Myth tackles the perennial question of beauty, which was complicated further in the 1990s by the rise of mass media. Though it’s slightly dated by now, this is nevertheless a classic and masterful deconstruction of the myth of beauty in the context of the patriarchy: an important read for anyone who wants to understand the increasingly complex intersection between female identity, beauty, and society.

43. Bad Feminist by Roxane Gay

In an essay for The Guardian , Gay writes: “I am failing as a woman. I am failing as a feminist. To freely accept the feminist label would not be fair to good feminists. If I am, indeed, a feminist, I am a rather bad one.” In this modern day and age, what makes a “good enough” feminist? Bad Feminist is Gay’s critically acclaimed, witty, and powerful exploration of this very question. Covering a broad range of topics from politics to race and entertainment, this is a future classic that’s instrumental in the complicated and evolving conversation regarding what it means to be a feminist.

44. Feminism is for Everybody by bell hooks

As the modern feminist movement rose in profile in the 21st-century, it also gained its fair share of detractors, who decried its supposed “anti-male” stance. It is this crowd that hooks aims to address in Feminism Is For Everybody , published in 2000. With steady candor and precision, she dispels the myths most commonly associated with feminism and compellingly argues why feminism is for everyone — yes, for you, too.

45. A Vindication of the Rights of Woman by Mary Wollstonecraft

For those who want to start at the very beginning of the movement, start with A Vindication of the Rights of Woman . Written by the brilliant author-activist Mary Wollstonecraft — now acknowledged as one of the founding feminist philosophers — A Vindication of the Rights of Woman is one of the earliest works of feminist theory. A commanding manifesto that birthed the tenets of modern feminist thought, it defied the prevailing notion at the time that women were naturally inferior to men, arguing instead that education for women (or the absence thereof) was a key inhibitor to equality. Today, it reminds us of the distance we’ve traveled since 1792 — and the work that is still to be done.

46. Fat Is A Feminist Issue by Susie Orbach

Originally published 40 years ago, Fat is a Feminist Issue is one of the first revolutionary anti-diet books to address body image and body variance. Less a critique and more a step-by-step guide on overcoming emotional eating, it was ahead of its time when it was published. And much of it is still relevant today, in a society that is only becoming more obsessed with the “ideal” body.

47. We Should All Be Feminists by Chimamanda Ngozi Adichie

In December 2012, Chimamanda Ngozi Adichie delivered an explosive TEDx talk entitled “We Should All Be Feminists” that generated 6 million views and ignited a worldwide conversation. This personal essay, which covers similar ground, is as much a must-read as the TEDx talk is a must-watch. With characteristic poise and wit (Adidchie is also a bestselling novelist and the recipient of the 2008 MacArthur Genius Grant), she distills the definition of modern feminism in clear prose, and delivers perhaps one of the most convincing arguments for why it would do all people good to rally around the movement.

48. The Future is Feminist

The Future is Feminist presents a stunningly empowering collection of essays that tackle feminism from all angles (including an entire essay on resting bitch face). As provocative, smart, and funny as its star-studded cast of diverse authors, this book is easily one of the most accessible introductions to feminism out there. Perhaps most importantly, it will offer inspiration and fire moving forward, as its authors from the past and the present — including Salma Hayek, Mindy Kaling, Sojourner Truth, and Mary Wollstonecraft — give us a glimpse of a more equal future.

49. Marxism and the Oppression of Women by Lise Vogel

If you stand at the cross-section of Marxism and feminism, Marxism and the Oppression of Women is essential reading. Whether you’re a Marxist wanting to venture into feminist thought or a feminist wanting to venture into Marxist theory, Vogel offers a concise overview on the topic that breaks down key Marxist concepts in clear, digestible prose. But she remains focused on the main critique at the core of the book: an analysis of the material basis of women’s oppression within a Marxist framework, and why Friedrich Engels and Karl Marx failed in that regard to account for it in their foundational Marxist texts.

50. Moving Beyond Words by Gloria Steinem

One of America’s greatest feminist icons, Gloria Steinem delivers yet another defiant and powerful essay collection. Building on Steinem’s past experience spearheading the American feminist movement in the 1960s and 1970s, these six essays move fluidly between the personal and the critique, all the while challenging societal notions of femininity and gender norms. If you’re short on time, you might want to skip to the “What if Freud were Phyllis?” essay: a brilliant take-down of sexist Freudian philosophies that re-imagines Freud as a woman.

Hungry for more? Check out this list of inspirational books for women .

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Women's Studies: Essential Writings of Feminism

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• Essential Writings of Feminism
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Internet Sources of Core Writings and Rhetoric on Women's Rights

Here are some links to online archives of classic feminist writings not covered elsewhere in this LibGuide.  See below box for selected print collections of feminist writings.

• Documents from the Women's Liberation Movement "The materials in this on-line archival collection document various aspects of the Women's Liberation Movement in the United States, and focus specifically on the radical origins of this movement during the late 1960s and early 1970s. Items range from radical theoretical writings to humorous plays to the minutes of an actual grassroots group. The items in this on-line collection are scanned and transcribed from original documents held in Duke's Special Collections Library. We are making these documents available on-line in order to support current teaching and research interests related to this period in U.S. history."
• Classic Feminist Writings This nice page, from the The Chicago Women's Liberation Union (CWLU) Herstory Website, provides a basic, browsable annotated list of a few primary documents. However, although the word "classic" appears in the title, all of these materials are from the 1960s and 1970s, so they are useful only in the study of the second wave. Note, too, that the group maintains files related to the "Jane" abortion activists. Click the Historical Archive link in the top frame to explore other web document options.
• Marxists Internet Archive Library of Feminist Writers Starting with Mary Wollstonecraft and Harriet Taylor, this webpage provides "Selected writings of feminists of each of the “three waves” of feminist political activity. Intellectual Property laws prevent the Marxists Internet Archive from reproducing the works of most of the major feminist writers of recent decades. However, key chapters and articles have been reproduced for educational purposes only."
• Fragen Project (Frames on Gender) Archive "For the first time, core feminist texts from the second wave of feminism in Europe have been made available to researchers in an easily accessible online database. The FRAGEN project brings together books, articles and pamphlets that were influential in the development of feminist ideas in 29 countries during the second half of the 20th century."
• Andrea Dworkin Web Site The late Andrea Dworkin was one of the most articulate, passionate and controversial voices from the second wave of American feminism. This webpage excerpts sections from a variety of her writings. Click on the large button for "Andrea Dworkin Online Library" to read selections from Intercourse, Right-Wing Women, Pornography: Men Possessing Women, Our Blood:Prophecies and Discourses on Sexual Politics, Woman Hating, and Life and Death. The site also includes many memorial statements by other feminist leaders posted after her Spring 2005 death.
• Jo Freeman.com: Articles by Jo Freeman o Freeman is another feminist activist and scholar whose work has spanned the earliest days of the "women's movement" til today. This good-looking, well-organized website presents many of Ms. Freeman's writings, including several written under the pseudonym Joreen. (These classic pieces include "The BITCH Manifesto" and "The Tyranny of Structurelessness.")
• No Turning Back: Feminist Resource Site Designed to support this book , which we have in both print and eBook, this webpage suggests other websites, recommends appropriate films, and even links to the full-text of few classic "Primary Source Documents from Feminist History."

Print and eBook Collections of Feminist Writings and Primary Documents

Here are just a few examples of the types of anthologies Sawyer Library owns that gather and reprint interesting journalism, essays and primary documents about women's lives and feminist activism.

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On Women: A new collection of feminist essays from the influential writer, activist and critic, Susan Sontag Hardcover – 1 Jun. 2023

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‘A brilliant, glittering intelligence’ Sunday Times On Women brings together Susan Sontag's most fearless and incisive writing on women, a crucial aspect of her work that has not until now received the attention it deserves. For the most part written in the 1970s during the height of second-wave feminism, Sontag's essays are strikingly relevant to our contemporary conversations. At times powerfully in sync and at others powerfully at odds with them, they are always characteristically original in their examinations of the 'biological division of labour', the double-standard for ageing and the dynamics of women's powerlessness and women's power. As Merve Emre writes in her introduction, 'They offer us the spectacle of a ferocious intellect setting itself to the task at hand: to articulate the politics and aesthetics of being a woman in the United States, the Americas and the world.' 'One of America's greatest public intellectuals' Observer 'Susan Sontag offers enough food for thought to satisfy the most intellectual of appetites' The Times 'At the time she died, she was America's best-known public intellectual. To my mind, she was also the most exemplary' John Gray, New Statesman WITH A PREFACE BY MERVE EMRE

• Print length 208 pages
• Language English
• Publisher Hamish Hamilton
• Publication date 1 Jun. 2023
• Dimensions 13.8 x 2.6 x 21.8 cm
• ISBN-10 0241597110
• ISBN-13 978-0241597118
• See all details

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• Publisher ‏ : ‎ Hamish Hamilton; 1st edition (1 Jun. 2023)
• Language ‏ : ‎ English
• Hardcover ‏ : ‎ 208 pages
• ISBN-10 ‏ : ‎ 0241597110
• ISBN-13 ‏ : ‎ 978-0241597118
• Dimensions ‏ : ‎ 13.8 x 2.6 x 21.8 cm
• 428 in Essays, Journals & Letters

About the author

Susan sontag.

Susan Sontag was born in Manhattan in 1933 and studied at the universities of Chicago, Harvard and Oxford. She is the author of four novels, a collection of stories, several plays, and six books of essays, among them Illness as Metaphor and AIDS and Its Metaphors. Her books are translated into thirty-two languages. In 2001 she was awarded the Jerusalem Prize for the body of her work, and in 2003 she received the Prince of Asturias Prize for Literature and the Peace Prize of the German Book Trade. She died in December 2004.

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The Essential Feminist Reader

Estelle b. freedman  ( editor ).

496 pages, Paperback

First published September 18, 2007

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Estelle B. Freedman

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• International edition
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I Call Myself a Feminist review – call to action

T his collection of short essays by 25 women under 30 is like a primer in why feminism still matters coupled with a call to action. Contributors include comedians, politicians, journalists, campaigners and performers, including Emily Benn , Laura Pankhurst , Sofie Hagen and the actor Jade Anouka, an extraordinary Hotspur in the Donmar Warehouse’s recent all-female production of Henry IV .

Their essays are interspersed with a series of pertinent quotes drawn from novels, memoirs, interviews and essays, and featuring everyone from Mary Wollstonecraft , Doris Lessing and Virginia Woolf through to Amy Poehler and Joss Whedon.

In this way the book manages to touch on what it means to be a feminist from the perspective of a Muslim woman, a queer woman, a trans woman and woman of colour, while also exploring intersectionality. There’s some rousing stuff here, even if the inherent bittiness and box-ticking of the format feels limiting at times.

I Call Myself a Feminist is published by Virago (£13.99). Click here to order it for £11.19

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

Friends, it’s true: the end of the decade approaches. It’s been a difficult, anxiety-provoking, morally compromised decade, but at least it’s been populated by some damn fine literature. We’ll take our silver linings where we can.

So, as is our hallowed duty as a literary and culture website—though with full awareness of the potentially fruitless and endlessly contestable nature of the task—in the coming weeks, we’ll be taking a look at the best and most important (these being not always the same) books of the decade that was. We will do this, of course, by means of a variety of lists. We began with the best debut novels , the best short story collections , the best poetry collections , and the best memoirs of the decade , and we have now reached the fifth list in our series: the best essay collections published in English between 2010 and 2019.

The following books were chosen after much debate (and several rounds of voting) by the Literary Hub staff. Tears were spilled, feelings were hurt, books were re-read. And as you’ll shortly see, we had a hard time choosing just ten—so we’ve also included a list of dissenting opinions, and an even longer list of also-rans. As ever, free to add any of your own favorites that we’ve missed in the comments below.

The Top Ten

Oliver sacks, the mind’s eye (2010).

Toward the end of his life, maybe suspecting or sensing that it was coming to a close, Dr. Oliver Sacks tended to focus his efforts on sweeping intellectual projects like On the Move (a memoir), The River of Consciousness (a hybrid intellectual history), and Hallucinations (a book-length meditation on, what else, hallucinations). But in 2010, he gave us one more classic in the style that first made him famous, a form he revolutionized and brought into the contemporary literary canon: the medical case study as essay. In The Mind’s Eye , Sacks focuses on vision, expanding the notion to embrace not only how we see the world, but also how we map that world onto our brains when our eyes are closed and we’re communing with the deeper recesses of consciousness. Relaying histories of patients and public figures, as well as his own history of ocular cancer (the condition that would eventually spread and contribute to his death), Sacks uses vision as a lens through which to see all of what makes us human, what binds us together, and what keeps us painfully apart. The essays that make up this collection are quintessential Sacks: sensitive, searching, with an expertise that conveys scientific information and experimentation in terms we can not only comprehend, but which also expand how we see life carrying on around us. The case studies of “Stereo Sue,” of the concert pianist Lillian Kalir, and of Howard, the mystery novelist who can no longer read, are highlights of the collection, but each essay is a kind of gem, mined and polished by one of the great storytellers of our era.  –Dwyer Murphy, CrimeReads Managing Editor

John Jeremiah Sullivan, Pulphead (2011)

The American essay was having a moment at the beginning of the decade, and Pulphead was smack in the middle. Without any hard data, I can tell you that this collection of John Jeremiah Sullivan’s magazine features—published primarily in GQ , but also in The Paris Review , and Harper’s —was the only full book of essays most of my literary friends had read since Slouching Towards Bethlehem , and probably one of the only full books of essays they had even heard of.

Well, we all picked a good one. Every essay in Pulphead is brilliant and entertaining, and illuminates some small corner of the American experience—even if it’s just one house, with Sullivan and an aging writer inside (“Mr. Lytle” is in fact a standout in a collection with no filler; fittingly, it won a National Magazine Award and a Pushcart Prize). But what are they about? Oh, Axl Rose, Christian Rock festivals, living around the filming of One Tree Hill , the Tea Party movement, Michael Jackson, Bunny Wailer, the influence of animals, and by god, the Miz (of Real World/Road Rules Challenge fame).

But as Dan Kois has pointed out , what connects these essays, apart from their general tone and excellence, is “their author’s essential curiosity about the world, his eye for the perfect detail, and his great good humor in revealing both his subjects’ and his own foibles.” They are also extremely well written, drawing much from fictional techniques and sentence craft, their literary pleasures so acute and remarkable that James Wood began his review of the collection in The New Yorker with a quiz: “Are the following sentences the beginnings of essays or of short stories?” (It was not a hard quiz, considering the context.)

It’s hard not to feel, reading this collection, like someone reached into your brain, took out the half-baked stuff you talk about with your friends, researched it, lived it, and represented it to you smarter and better and more thoroughly than you ever could. So read it in awe if you must, but read it.  –Emily Temple, Senior Editor

Aleksandar Hemon, The Book of My Lives (2013)

Such is the sentence-level virtuosity of Aleksandar Hemon—the Bosnian-American writer, essayist, and critic—that throughout his career he has frequently been compared to the granddaddy of borrowed language prose stylists: Vladimir Nabokov. While it is, of course, objectively remarkable that anyone could write so beautifully in a language they learned in their twenties, what I admire most about Hemon’s work is the way in which he infuses every essay and story and novel with both a deep humanity and a controlled (but never subdued) fury. He can also be damn funny. Hemon grew up in Sarajevo and left in 1992 to study in Chicago, where he almost immediately found himself stranded, forced to watch from afar as his beloved home city was subjected to a relentless four-year bombardment, the longest siege of a capital in the history of modern warfare. This extraordinary memoir-in-essays is many things: it’s a love letter to both the family that raised him and the family he built in exile; it’s a rich, joyous, and complex portrait of a place the 90s made synonymous with war and devastation; and it’s an elegy for the wrenching loss of precious things. There’s an essay about coming of age in Sarajevo and another about why he can’t bring himself to leave Chicago. There are stories about relationships forged and maintained on the soccer pitch or over the chessboard, and stories about neighbors and mentors turned monstrous by ethnic prejudice. As a chorus they sing with insight, wry humor, and unimaginable sorrow. I am not exaggerating when I say that the collection’s devastating final piece, “The Aquarium”—which details his infant daughter’s brain tumor and the agonizing months which led up to her death—remains the most painful essay I have ever read.  –Dan Sheehan, Book Marks Editor

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

Of every essay in my relentlessly earmarked copy of Braiding Sweetgrass , Dr. Robin Wall Kimmerer’s gorgeously rendered argument for why and how we should keep going, there’s one that especially hits home: her account of professor-turned-forester Franz Dolp. When Dolp, several decades ago, revisited the farm that he had once shared with his ex-wife, he found a scene of destruction: The farm’s new owners had razed the land where he had tried to build a life. “I sat among the stumps and the swirling red dust and I cried,” he wrote in his journal.

So many in my generation (and younger) feel this kind of helplessness–and considerable rage–at finding ourselves newly adult in a world where those in power seem determined to abandon or destroy everything that human bodies have always needed to survive: air, water, land. Asking any single book to speak to this helplessness feels unfair, somehow; yet, Braiding Sweetgrass does, by weaving descriptions of indigenous tradition with the environmental sciences in order to show what survival has looked like over the course of many millennia. Kimmerer’s essays describe her personal experience as a Potawotami woman, plant ecologist, and teacher alongside stories of the many ways that humans have lived in relationship to other species. Whether describing Dolp’s work–he left the stumps for a life of forest restoration on the Oregon coast–or the work of others in maple sugar harvesting, creating black ash baskets, or planting a Three Sisters garden of corn, beans, and squash, she brings hope. “In ripe ears and swelling fruit, they counsel us that all gifts are multiplied in relationship,” she writes of the Three Sisters, which all sustain one another as they grow. “This is how the world keeps going.”  –Corinne Segal, Senior Editor

Hilton Als, White Girls (2013)

In a world where we are so often reduced to one essential self, Hilton Als’ breathtaking book of critical essays, White Girls , which meditates on the ways he and other subjects read, project and absorb parts of white femininity, is a radically liberating book. It’s one of the only works of critical thinking that doesn’t ask the reader, its author or anyone he writes about to stoop before the doorframe of complete legibility before entering. Something he also permitted the subjects and readers of his first book, the glorious book-length essay, The Women , a series of riffs and psychological portraits of Dorothy Dean, Owen Dodson, and the author’s own mother, among others. One of the shifts of that book, uncommon at the time, was how it acknowledges the way we inhabit bodies made up of variously gendered influences. To read White Girls now is to experience the utter freedom of this gift and to marvel at Als’ tremendous versatility and intelligence.

He is easily the most diversely talented American critic alive. He can write into genres like pop music and film where being part of an audience is a fantasy happening in the dark. He’s also wired enough to know how the art world builds reputations on the nod of rich white patrons, a significant collision in a time when Jean-Michel Basquiat is America’s most expensive modern artist. Als’ swerving and always moving grip on performance means he’s especially good on describing the effect of art which is volatile and unstable and built on the mingling of made-up concepts and the hard fact of their effect on behavior, such as race. Writing on Flannery O’Connor for instance he alone puts a finger on her “uneasy and unavoidable union between black and white, the sacred and the profane, the shit and the stars.” From Eminem to Richard Pryor, André Leon Talley to Michael Jackson, Als enters the life and work of numerous artists here who turn the fascinations of race and with whiteness into fury and song and describes the complexity of their beauty like his life depended upon it. There are also brief memoirs here that will stop your heart. This is an essential work to understanding American culture.  –John Freeman, Executive Editor

Eula Biss, On Immunity (2014)

We move through the world as if we can protect ourselves from its myriad dangers, exercising what little agency we have in an effort to keep at bay those fears that gather at the edges of any given life: of loss, illness, disaster, death. It is these fears—amplified by the birth of her first child—that Eula Biss confronts in her essential 2014 essay collection, On Immunity . As any great essayist does, Biss moves outward in concentric circles from her own very private view of the world to reveal wider truths, discovering as she does a culture consumed by anxiety at the pervasive toxicity of contemporary life. As Biss interrogates this culture—of privilege, of whiteness—she interrogates herself, questioning the flimsy ways in which we arm ourselves with science or superstition against the impurities of daily existence.

Five years on from its publication, it is dismaying that On Immunity feels as urgent (and necessary) a defense of basic science as ever. Vaccination, we learn, is derived from vacca —for cow—after the 17th-century discovery that a small application of cowpox was often enough to inoculate against the scourge of smallpox, an etymological digression that belies modern conspiratorial fears of Big Pharma and its vaccination agenda. But Biss never scolds or belittles the fears of others, and in her generosity and openness pulls off a neat (and important) trick: insofar as we are of the very world we fear, she seems to be suggesting, we ourselves are impure, have always been so, permeable, vulnerable, yet so much stronger than we think.  –Jonny Diamond, Editor-in-Chief 

Rebecca Solnit, The Mother of All Questions (2016)

When Rebecca Solnit’s essay, “Men Explain Things to Me,” was published in 2008, it quickly became a cultural phenomenon unlike almost any other in recent memory, assigning language to a behavior that almost every woman has witnessed—mansplaining—and, in the course of identifying that behavior, spurring a movement, online and offline, to share the ways in which patriarchal arrogance has intersected all our lives. (It would also come to be the titular essay in her collection published in 2014.) The Mother of All Questions follows up on that work and takes it further in order to examine the nature of self-expression—who is afforded it and denied it, what institutions have been put in place to limit it, and what happens when it is employed by women. Solnit has a singular gift for describing and decoding the misogynistic dynamics that govern the world so universally that they can seem invisible and the gendered violence that is so common as to seem unremarkable; this naming is powerful, and it opens space for sharing the stories that shape our lives.

The Mother of All Questions, comprised of essays written between 2014 and 2016, in many ways armed us with some of the tools necessary to survive the gaslighting of the Trump years, in which many of us—and especially women—have continued to hear from those in power that the things we see and hear do not exist and never existed. Solnit also acknowledges that labels like “woman,” and other gendered labels, are identities that are fluid in reality; in reviewing the book for The New Yorker , Moira Donegan suggested that, “One useful working definition of a woman might be ‘someone who experiences misogyny.'” Whichever words we use, Solnit writes in the introduction to the book that “when words break through unspeakability, what was tolerated by a society sometimes becomes intolerable.” This storytelling work has always been vital; it continues to be vital, and in this book, it is brilliantly done.  –Corinne Segal, Senior Editor

Valeria Luiselli, Tell Me How It Ends (2017)

The newly minted MacArthur fellow Valeria Luiselli’s four-part (but really six-part) essay  Tell Me How It Ends: An Essay in Forty Questions  was inspired by her time spent volunteering at the federal immigration court in New York City, working as an interpreter for undocumented, unaccompanied migrant children who crossed the U.S.-Mexico border. Written concurrently with her novel  Lost Children Archive  (a fictional exploration of the same topic), Luiselli’s essay offers a fascinating conceit, the fashioning of an argument from the questions on the government intake form given to these children to process their arrivals. (Aside from the fact that this essay is a heartbreaking masterpiece, this is such a  good  conceit—transforming a cold, reproducible administrative document into highly personal literature.) Luiselli interweaves a grounded discussion of the questionnaire with a narrative of the road trip Luiselli takes with her husband and family, across America, while they (both Mexican citizens) wait for their own Green Card applications to be processed. It is on this trip when Luiselli reflects on the thousands of migrant children mysteriously traveling across the border by themselves. But the real point of the essay is to actually delve into the real stories of some of these children, which are agonizing, as well as to gravely, clearly expose what literally happens, procedural, when they do arrive—from forms to courts, as they’re swallowed by a bureaucratic vortex. Amid all of this, Luiselli also takes on more, exploring the larger contextual relationship between the United States of America and Mexico (as well as other countries in Central America, more broadly) as it has evolved to our current, adverse moment.  Tell Me How It Ends  is so small, but it is so passionate and vigorous: it desperately accomplishes in its less-than-100-pages-of-prose what centuries and miles and endless records of federal bureaucracy have never been able, and have never cared, to do: reverse the dehumanization of Latin American immigrants that occurs once they set foot in this country.  –Olivia Rutigliano, CrimeReads Editorial Fellow

Zadie Smith, Feel Free (2018)

In the essay “Meet Justin Bieber!” in Feel Free , Zadie Smith writes that her interest in Justin Bieber is not an interest in the interiority of the singer himself, but in “the idea of the love object”. This essay—in which Smith imagines a meeting between Bieber and the late philosopher Martin Buber (“Bieber and Buber are alternative spellings of the same German surname,” she explains in one of many winning footnotes. “Who am I to ignore these hints from the universe?”). Smith allows that this premise is a bit premise -y: “I know, I know.” Still, the resulting essay is a very funny, very smart, and un-tricky exploration of individuality and true “meeting,” with a dash of late capitalism thrown in for good measure. The melding of high and low culture is the bread and butter of pretty much every prestige publication on the internet these days (and certainly of the Twitter feeds of all “public intellectuals”), but the essays in Smith’s collection don’t feel familiar—perhaps because hers is, as we’ve long known, an uncommon skill. Though I believe Smith could probably write compellingly about anything, she chooses her subjects wisely. She writes with as much electricity about Brexit as the aforementioned Beliebers—and each essay is utterly engrossing. “She contains multitudes, but her point is we all do,” writes Hermione Hoby in her review of the collection in The New Republic . “At the same time, we are, in our endless difference, nobody but ourselves.”  –Jessie Gaynor, Social Media Editor

Tressie McMillan Cottom, Thick: And Other Essays (2019)

Tressie McMillan Cottom is an academic who has transcended the ivory tower to become the sort of public intellectual who can easily appear on radio or television talk shows to discuss race, gender, and capitalism. Her collection of essays reflects this duality, blending scholarly work with memoir to create a collection on the black female experience in postmodern America that’s “intersectional analysis with a side of pop culture.” The essays range from an analysis of sexual violence, to populist politics, to social media, but in centering her own experiences throughout, the collection becomes something unlike other pieces of criticism of contemporary culture. In explaining the title, she reflects on what an editor had said about her work: “I was too readable to be academic, too deep to be popular, too country black to be literary, and too naïve to show the rigor of my thinking in the complexity of my prose. I had wanted to create something meaningful that sounded not only like me, but like all of me. It was too thick.” One of the most powerful essays in the book is “Dying to be Competent” which begins with her unpacking the idiocy of LinkedIn (and the myth of meritocracy) and ends with a description of her miscarriage, the mishandling of black woman’s pain, and a condemnation of healthcare bureaucracy. A finalist for the 2019 National Book Award for Nonfiction, Thick confirms McMillan Cottom as one of our most fearless public intellectuals and one of the most vital.  –Emily Firetog, Deputy Editor

Dissenting Opinions

The following books were just barely nudged out of the top ten, but we (or at least one of us) couldn’t let them pass without comment.

Elif Batuman, The Possessed (2010)

In The Possessed Elif Batuman indulges her love of Russian literature and the result is hilarious and remarkable. Each essay of the collection chronicles some adventure or other that she had while in graduate school for Comparative Literature and each is more unpredictable than the next. There’s the time a “well-known 20th-centuryist” gave a graduate student the finger; and the time when Batuman ended up living in Samarkand, Uzbekistan, for a summer; and the time that she convinced herself Tolstoy was murdered and spent the length of the Tolstoy Conference in Yasnaya Polyana considering clues and motives. Rich in historic detail about Russian authors and literature and thoughtfully constructed, each essay is an amalgam of critical analysis, cultural criticism, and serious contemplation of big ideas like that of identity, intellectual legacy, and authorship. With wit and a serpentine-like shape to her narratives, Batuman adopts a form reminiscent of a Socratic discourse, setting up questions at the beginning of her essays and then following digressions that more or less entreat the reader to synthesize the answer for herself. The digressions are always amusing and arguably the backbone of the collection, relaying absurd anecdotes with foreign scholars or awkward, surreal encounters with Eastern European strangers. Central also to the collection are Batuman’s intellectual asides where she entertains a theory—like the “problem of the person”: the inability to ever wholly capture one’s character—that ultimately layer the book’s themes. “You are certainly my most entertaining student,” a professor said to Batuman. But she is also curious and enthusiastic and reflective and so knowledgeable that she might even convince you (she has me!) that you too love Russian literature as much as she does. –Eleni Theodoropoulos, Editorial Fellow

Roxane Gay, Bad Feminist (2014)

Roxane Gay’s now-classic essay collection is a book that will make you laugh, think, cry, and then wonder, how can cultural criticism be this fun? My favorite essays in the book include Gay’s musings on competitive Scrabble, her stranded-in-academia dispatches, and her joyous film and television criticism, but given the breadth of topics Roxane Gay can discuss in an entertaining manner, there’s something for everyone in this one. This book is accessible because feminism itself should be accessible – Roxane Gay is as likely to draw inspiration from YA novels, or middle-brow shows about friendship, as she is to introduce concepts from the academic world, and if there’s anyone I trust to bridge the gap between high culture, low culture, and pop culture, it’s the Goddess of Twitter. I used to host a book club dedicated to radical reads, and this was one of the first picks for the club; a week after the book club met, I spied a few of the attendees meeting in the café of the bookstore, and found out that they had bonded so much over discussing  Bad Feminist  that they couldn’t wait for the next meeting of the book club to keep discussing politics and intersectionality, and that, in a nutshell, is the power of Roxane. –Molly Odintz, CrimeReads Associate Editor

Rivka Galchen, Little Labors (2016)

Generally, I find stories about the trials and tribulations of child-having to be of limited appeal—useful, maybe, insofar as they offer validation that other people have also endured the bizarre realities of living with a tiny human, but otherwise liable to drift into the musings of parents thrilled at the simple fact of their own fecundity, as if they were the first ones to figure the process out (or not). But Little Labors is not simply an essay collection about motherhood, perhaps because Galchen initially “didn’t want to write about” her new baby—mostly, she writes, “because I had never been interested in babies, or mothers; in fact, those subjects had seemed perfectly not interesting to me.” Like many new mothers, though, Galchen soon discovered her baby—which she refers to sometimes as “the puma”—to be a preoccupying thought, demanding to be written about. Galchen’s interest isn’t just in her own progeny, but in babies in literature (“Literature has more dogs than babies, and also more abortions”), The Pillow Book , the eleventh-century collection of musings by Sei Shōnagon, and writers who are mothers. There are sections that made me laugh out loud, like when Galchen continually finds herself in an elevator with a neighbor who never fails to remark on the puma’s size. There are also deeper, darker musings, like the realization that the baby means “that it’s not permissible to die. There are days when this does not feel good.” It is a slim collection that I happened to read at the perfect time, and it remains one of my favorites of the decade. –Emily Firetog, Deputy Editor

Charlie Fox, This Young Monster (2017)

On social media as in his writing, British art critic Charlie Fox rejects lucidity for allusion and doesn’t quite answer the Twitter textbox’s persistent question: “What’s happening?” These days, it’s hard to tell.  This Young Monster  (2017), Fox’s first book,was published a few months after Donald Trump’s election, and at one point Fox takes a swipe at a man he judges “direct from a nightmare and just a repulsive fucking goon.” Fox doesn’t linger on politics, though, since most of the monsters he looks at “embody otherness and make it into art, ripping any conventional idea of beauty to shreds and replacing it with something weird and troubling of their own invention.”

If clichés are loathed because they conform to what philosopher Georges Bataille called “the common measure,” then monsters are rebellious non-sequiturs, comedic or horrific derailments from a classical ideal. Perverts in the most literal sense, monsters have gone astray from some “proper” course. The book’s nine chapters, which are about a specific monster or type of monster, are full of callbacks to familiar and lesser-known media. Fox cites visual art, film, songs, and books with the screwy buoyancy of a savant. Take one of his essays, “Spook House,” framed as a stage play with two principal characters, Klaus (“an intoxicated young skinhead vampire”) and Hermione (“a teen sorceress with green skin and jet-black hair” who looks more like The Wicked Witch than her namesake). The chorus is a troupe of trick-or-treaters. Using the filmmaker Cameron Jamie as a starting point, the rest is free association on gothic decadence and Detroit and L.A. as cities of the dead. All the while, Klaus quotes from  Artforum ,  Dazed & Confused , and  Time Out. It’s a technical feat that makes fictionalized dialogue a conveyor belt for cultural criticism.

In Fox’s imagination, David Bowie and the Hydra coexist alongside Peter Pan, Dennis Hopper, and the maenads. Fox’s book reaches for the monster’s mask, not really to peel it off but to feel and smell the rubber schnoz, to know how it’s made before making sure it’s still snugly set. With a stylistic blend of arthouse suavity and B-movie chic,  This Young Monster considers how monsters in culture are made. Aren’t the scariest things made in post-production? Isn’t the creature just duplicity, like a looping choir or a dubbed scream? –Aaron Robertson, Assistant Editor

Elena Passarello, Animals Strike Curious Poses (2017)

Elena Passarello’s collection of essays Animals Strike Curious Poses picks out infamous animals and grants them the voice, narrative, and history they deserve. Not only is a collection like this relevant during the sixth extinction but it is an ambitious historical and anthropological undertaking, which Passarello has tackled with thorough research and a playful tone that rather than compromise her subject, complicates and humanizes it. Passarello’s intention is to investigate the role of animals across the span of human civilization and in doing so, to construct a timeline of humanity as told through people’s interactions with said animals. “Of all the images that make our world, animal images are particularly buried inside us,” Passarello writes in her first essay, to introduce us to the object of the book and also to the oldest of her chosen characters: Yuka, a 39,000-year-old mummified woolly mammoth discovered in the Siberian permafrost in 2010. It was an occasion so remarkable and so unfathomable given the span of human civilization that Passarello says of Yuka: “Since language is epically younger than both thought and experience, ‘woolly mammoth’ means, to a human brain, something more like time.” The essay ends with a character placing a hand on a cave drawing of a woolly mammoth, accompanied by a phrase which encapsulates the author’s vision for the book: “And he becomes the mammoth so he can envision the mammoth.” In Passarello’s hands the imagined boundaries between the animal, natural, and human world disintegrate and what emerges is a cohesive if baffling integrated history of life. With the accuracy and tenacity of a journalist and the spirit of a storyteller, Elena Passarello has assembled a modern bestiary worthy of contemplation and awe. –Eleni Theodoropoulos, Editorial Fellow

Esmé Weijun Wang, The Collected Schizophrenias (2019)

Esmé Weijun Wang’s collection of essays is a kaleidoscopic look at mental health and the lives affected by the schizophrenias. Each essay takes on a different aspect of the topic, but you’ll want to read them together for a holistic perspective. Esmé Weijun Wang generously begins The Collected Schizophrenias by acknowledging the stereotype, “Schizophrenia terrifies. It is the archetypal disorder of lunacy.” From there, she walks us through the technical language, breaks down the Diagnostic and Statistical Manual ( DSM-5 )’s clinical definition. And then she gets very personal, telling us about how she came to her own diagnosis and the way it’s touched her daily life (her relationships, her ideas about motherhood). Esmé Weijun Wang is uniquely situated to write about this topic. As a former lab researcher at Stanford, she turns a precise, analytical eye to her experience while simultaneously unfolding everything with great patience for her reader. Throughout, she brilliantly dissects the language around mental health. (On saying “a person living with bipolar disorder” instead of using “bipolar” as the sole subject: “…we are not our diseases. We are instead individuals with disorders and malfunctions. Our conditions lie over us like smallpox blankets; we are one thing and the illness is another.”) She pinpoints the ways she arms herself against anticipated reactions to the schizophrenias: high fashion, having attended an Ivy League institution. In a particularly piercing essay, she traces mental illness back through her family tree. She also places her story within more mainstream cultural contexts, calling on groundbreaking exposés about the dangerous of institutionalization and depictions of mental illness in television and film (like the infamous Slender Man case, in which two young girls stab their best friend because an invented Internet figure told them to). At once intimate and far-reaching, The Collected Schizophrenias is an informative and important (and let’s not forget artful) work. I’ve never read a collection quite so beautifully-written and laid-bare as this. –Katie Yee, Book Marks Assistant Editor

Ross Gay, The Book of Delights (2019)

When Ross Gay began writing what would become The Book of Delights, he envisioned it as a project of daily essays, each focused on a moment or point of delight in his day. This plan quickly disintegrated; on day four, he skipped his self-imposed assignment and decided to “in honor and love, delight in blowing it off.” (Clearly, “blowing it off” is a relative term here, as he still produced the book.) Ross Gay is a generous teacher of how to live, and this moment of reveling in self-compassion is one lesson among many in The Book of Delights , which wanders from moments of connection with strangers to a shade of “red I don’t think I actually have words for,” a text from a friend reading “I love you breadfruit,” and “the sun like a guiding hand on my back, saying everything is possible. Everything .”

Gay does not linger on any one subject for long, creating the sense that delight is a product not of extenuating circumstances, but of our attention; his attunement to the possibilities of a single day, and awareness of all the small moments that produce delight, are a model for life amid the warring factions of the attention economy. These small moments range from the physical–hugging a stranger, transplanting fig cuttings–to the spiritual and philosophical, giving the impression of sitting beside Gay in his garden as he thinks out loud in real time. It’s a privilege to listen. –Corinne Segal, Senior Editor

Honorable Mentions

A selection of other books that we seriously considered for both lists—just to be extra about it (and because decisions are hard).

Terry Castle, The Professor and Other Writings (2010) · Joyce Carol Oates, In Rough Country (2010) · Geoff Dyer, Otherwise Known as the Human Condition (2011) · Christopher Hitchens, Arguably (2011) ·  Roberto Bolaño, tr. Natasha Wimmer, Between Parentheses (2011) · Dubravka Ugresic, tr. David Williams, Karaoke Culture (2011) · Tom Bissell, Magic Hours (2012)  · Kevin Young, The Grey Album (2012) · William H. Gass, Life Sentences: Literary Judgments and Accounts (2012) · Mary Ruefle, Madness, Rack, and Honey (2012) · Herta Müller, tr. Geoffrey Mulligan, Cristina and Her Double (2013) · Leslie Jamison, The Empathy Exams (2014)  · Meghan Daum, The Unspeakable (2014)  · Daphne Merkin, The Fame Lunches (2014)  · Charles D’Ambrosio, Loitering (2015) · Wendy Walters, Multiply/Divide (2015) · Colm Tóibín, On Elizabeth Bishop (2015) ·  Renee Gladman, Calamities (2016)  · Jesmyn Ward, ed. The Fire This Time (2016)  · Lindy West, Shrill (2016)  · Mary Oliver, Upstream (2016)  · Emily Witt, Future Sex (2016)  · Olivia Laing, The Lonely City (2016)  · Mark Greif, Against Everything (2016)  · Durga Chew-Bose, Too Much and Not the Mood (2017)  · Sarah Gerard, Sunshine State (2017)  · Jim Harrison, A Really Big Lunch (2017)  · J.M. Coetzee, Late Essays: 2006-2017 (2017) · Melissa Febos, Abandon Me (2017)  · Louise Glück, American Originality (2017)  · Joan Didion, South and West (2017)  · Tom McCarthy, Typewriters, Bombs, Jellyfish (2017)  · Hanif Abdurraqib, They Can’t Kill Us Until they Kill Us (2017)  · Ta-Nehisi Coates, We Were Eight Years in Power (2017)  ·  Samantha Irby, We Are Never Meeting in Real Life (2017)  · Alexander Chee, How to Write an Autobiographical Novel (2018)  · Alice Bolin, Dead Girls (2018)  · Marilynne Robinson, What Are We Doing Here? (2018)  · Lorrie Moore, See What Can Be Done (2018)  · Maggie O’Farrell, I Am I Am I Am (2018)  · Ijeoma Oluo, So You Want to Talk About Race (2018)  · Rachel Cusk, Coventry (2019)  · Jia Tolentino, Trick Mirror (2019)  · Emily Bernard, Black is the Body (2019)  · Toni Morrison, The Source of Self-Regard (2019)  · Margaret Renkl, Late Migrations (2019)  ·  Rachel Munroe, Savage Appetites (2019)  · Robert A. Caro,  Working  (2019) · Arundhati Roy, My Seditious Heart (2019).

Emily Temple

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THE CRUNK FEMINIST COLLECTION

edited by Brittney Cooper & Susana Morris & Robin M. Boylorn ‧ RELEASE DATE: Jan. 10, 2017

A valuable record of the collective’s contributions to a growing cultural awareness of feminist issues and criticism,...

A collection of feminist essays on sex, gender, pop culture, politics, and friendship.

Originally founded in 2004 by three like-minded graduate students at Emory University, the Crunk Feminist Collective was revived in 2010 as a blog and outlet for the members’ opinions, cultural analyses, and personal stories in the age of digital feminism. Bringing together their most popular posts from 2010 to 2015, the book is a diverse assemblage of essays, missives, rants, and confessions. Though the pieces range in style and subject matter, they all mix a deeply passionate and intellectual backbone with informal, accessible language that addresses feminist issues of gender, politics, and race and racism. Before delving into these topics, the collection includes a mission statement, manifesto, and an introduction to getting crunk, which proclaim the group’s mission to “create a space of support and camaraderie for hip hop generation feminists of color, queer and straight, [with]in the academy and without,” and define crunkness as “our commitment to feminist principles and politics.” Their “mode of resistance” is to rail against patriarchal power structures, defend and humanize Black Lives Matter, and dissect African-American representation in the media. (There are several essays on Beyoncé.) The group also tackles sensitive personal subjects for communities of color, such as coming out, reproductive rights, and mental health. The writers of the collective exhibit an extraordinary breadth of intellectual range, but their critiques often favor anecdotal evidence rather than a more substantive argument. Nonetheless, there is plenty to provoke thought, and the collection serves as a call to action for enlightenment-seekers. The editors also include a “Crunk Glossary” to define relevant terms, including “genderqueer” and “misogynoir,” which “refers to the unique hatred that Black women and girls experience in American visual and popular culture.”

Pub Date: Jan. 10, 2017

ISBN: 978-1-55861-943-2

Page Count: 312

Publisher: Feminist Press

Review Posted Online: Dec. 18, 2016

Kirkus Reviews Issue: Jan. 1, 2017

CURRENT EVENTS & SOCIAL ISSUES | ETHNICITY & RACE | WOMEN & FEMINISM | GENERAL CURRENT EVENTS & SOCIAL ISSUES

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by Brittney Cooper ; illustrated by Cathy Ann Johnson

by Brittney Cooper & Chanel Craft Tanner & Susana Morris

by Brittney Cooper

A PEOPLE'S HISTORY OF THE UNITED STATES

by Howard Zinn ‧ RELEASE DATE: Jan. 1, 1979

For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History ). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.

Pub Date: Jan. 1, 1979

ISBN: 0061965588

Page Count: 772

Publisher: Harper & Row

Review Posted Online: May 26, 2012

Kirkus Reviews Issue: Jan. 1, 1979

GENERAL HISTORY | GENERAL CURRENT EVENTS & SOCIAL ISSUES | CURRENT EVENTS & SOCIAL ISSUES | UNITED STATES | POLITICS | HISTORY

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by Howard Zinn ; adapted by Rebecca Stefoff with by Ed Morales

by Howard Zinn with Ray Suarez

by Howard Zinn

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Kirkus Reviews' Best Books Of 2016

New York Times Bestseller

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WHEN BREATH BECOMES AIR

by Paul Kalanithi ‧ RELEASE DATE: Jan. 19, 2016

A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...

A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.

Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”

Pub Date: Jan. 19, 2016

ISBN: 978-0-8129-8840-6

Page Count: 248

Publisher: Random House

Review Posted Online: Sept. 29, 2015

Kirkus Reviews Issue: Oct. 15, 2015

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Feminist Film Theory: An Introductory Reading List

Evolving from the analysis of representations of women in film, feminist film theory asks questions about identity, sexuality, and the politics of spectatorship.

Not unlike the emergence of feminist theory and criticism in the domains of art and literature, the women’s movement of the late 1960s and 1970s sparked a focused interrogation of images of women in film and of women’s participation in film production.  The 1970s witnessed the authorship of massively influential texts by writers such as Claire Johnston, Molly Haskell, and Laura Mulvey in the United Kingdom and the United States, and psychoanalysis was a reigning method of inquiry, though Marxism and semiotics also informed the field.

Feminist film theory has provoked debates about the representations of female bodies, sexuality, and femininity on screen while posing questions concerning identity, desire, and the politics of spectatorship, among other topics. Crucially, an increasing amount of attention has been paid by theorists to intersectionality, as scholars investigate the presence and absence of marginalized and oppressed film subjects and producers. This reading list surveys a dozen articles, presented chronologically, as a starting point for readers interested in the lines of inquiry that have fueled the field over the last fifty years.

Laura Mulvey, “ Visual Pleasure and Narrative Cinema ,” Screen 16, no. 3 (1975): 6–18.

To put it most simply, Mulvey’s 1975 essay is nothing short of iconic. A cornerstone of psychoanalytic feminist film theory, “Visual Pleasure and Narrative Cinema” describes the ways in which women are displayed on screen for the pleasure of the male spectator. Many of the essays listed below engage explicitly with Mulvey’s essay and the notion of the male gaze, illustrating what Corrin Columpar (2002, see below) describes as a “near compulsive return” to this pioneering work. But even Mulvey herself would later push back on some of her most provocative claims , including her positioning of the spectator as male, as well as her omission of female protagonists.

“ Feminism and Film: Critical Approaches ,” Camera Obscura 1, no. 1 (1976): 3–10.

Established in 1976, Camera Obscura was (and remains) a groundbreaking venue for feminist film studies. This introductory essay to the first issue contextualizes the necessity of such a journal in a scholarly and cultural environment in which there is a true “need” for the feminist study of film. Camera Obscura was, in part, an American response to the wave of British contributions to the field, often published in the journal Screen (the home of Mulvey’s essay). The editors spend much of this essay unpacking the camera obscura, an image projection device, as a metaphor for feminist film theory, as it functions as a symbol of contradiction that “emphasizes the points of convergence of ideology and representation, of ideology as representation.”

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Michelle Criton, Julia Lesage, Judith Mayne, B. Ruby Rich, and Anna Marie Taylor, “ Women and Film: A Discussion of Feminist Aesthetics ,” New German Critique no. 13 (1978): 83–107.

What makes film an enticing object of study for feminists in the first place? As Criton et al. attest, the answers lie in the social rather than individual or private dimensions of film as well as in its accessibility and synthesis of “art, life, politics, sex, etc.” The conversation featured here provides a glimpse into contemporary conversations about the work of Claire Johnston and Laura Mulvey and psychoanalysis as a shaping force of early feminist film theory. Additionally, they consider how a feminist filmmaking aesthetic can reveal and critique the ideologies that underpin the oppression of women.

Judith Mayne, “ Feminist Film Theory and Criticism ,” Signs 11, no. 1 (1985): 81–100.

Acknowledging the profound impact of “Visual Pleasure and Narrative Cinema,” Mayne surveys the development of feminist film theory, including both its historical contexts and its fixations upon psychoanalysis and the notions of spectacle and the gaze. Mayne outlines how contradiction—variously construed—is “ the central issue in feminist film theory and criticism” (emphasis added). Additionally, the author calls into question the historiography of women’s cinema, noting the “risk of romanticizing women’s exclusion from the actual production of films.” She urges scholars to, certainly, continue the necessary exploration of forgotten and understudied female filmmakers but to also open up the conception of women’s cinema to include not just the work of female directors but also their peripheral roles as critics and audience members.

Jane Gaines, “ White Privilege and Looking Relations: Race and Gender in Feminist Film Theory ,” Cultural Critique , no. 4 (1986): 59–79.

What, Gaines asks, are the limitations of feminist theory’s early fixation on gender at the expense of nuanced understandings of race, class, and sexuality? While feminist theory may, in its earliest years, have opened up possibilities for interrogating the gendered politics of spectatorship, it was largely exclusionary of diverse perspectives, including, as Gaines notes, lesbians and women of color. In doing so, “feminist theory has helped to reinforce white middle-class [normative] values, and to the extent that it works to keep women from seeing other structures of oppression, it functions ideologically.” Through an analysis of the 1975 film Mahogany and informed by black feminist theorists and writers such as bell hooks, Mayne argues that psychoanalysis ultimately results in erroneous readings of films about race.

Noël Carroll, “ The Image of Women in Film: A Defense of a Paradigm ,” The Journal of Aesthetics and Art Criticism 48, no. 4 (1990): 349–60.

Carroll theorizes why psychoanalysis was so attractive to feminists in the 1970s and 1980s: by providing a theoretical framework, he argues, psychoanalysis was a means to “incorporate” and “organize” the “scattered insights of the image of women in film approach.” Taking issue with Mulvey’s perspective on voyeurism, Carroll positions the image approach, or the study of the image of women in film—in this case with an emphasis on theories of emotion— as a “rival research program” to psychoanalysis. He argues that paradigm scenarios, or cases in which emotions are learned behavioral responses, influence spectatorship and how audiences respond emotionally to women on screen.

Karen Hollinger, “ Theorizing Mainstream Female Spectatorship: The Case of the Popular Lesbian Film ,” Cinema Journal 37, no. 2 (1998): 3–17.

Hollinger surveys theoretical responses to lesbian subjectivity and the female spectatorship of popular lesbian film narratives. She articulates the subversive power of the lesbian look as a challenge to Mulvey’s notion of the male gaze, asserting its potential to empower female spectators as agents of desire.

Corinn Columpar, “ The Gaze As Theoretical Touchstone: The Intersection of Film Studies, Feminist Theory, and Postcolonial Theory ,” Women’s Studies Quarterly 30, no. 1/2 (2002): 25–44.

The male gaze is not, as Columpar articulates, the sole tool “in the contemporary feminist film critic’s box”: so are the ethnographic and colonial gazes, brought to film theory from postcolonial studies. Columpar reiterates that the early fixation upon gender and the male gaze “failed to account for other key determinants of social power and position.” Interdisciplinary perspectives, such as those informed by postcolonial theory, are better equipped to unpack “issues of racial and national difference and acknowledge the role that race and ethnicity play in looking relations.”

Janell Hobson, “ Viewing in the Dark: Toward a Black Feminist Approach to Film ,” Women’s Studies Quarterly 30, no. 1/2 (2002): 45–59.

Hobson illuminates the absence and/or disembodied presence of Black female bodies in Hollywood cinema. She argues that the invisibility of Black women’s bodies on screen was a defense mechanism against the disruption of “whites as beautiful, as the norm.” By turning away from the gaze and toward the sound of Black women’s disembodied voices in speech and song, viewers are better equipped to recognize how their voices are “used in mainstream cinema by way of supporting and defining the normalized (white) male body,” therefore “ensur[ing] the identity of white masculinity.”

E. Ann Kaplan, “ Global Feminisms and the State of Feminist Film Theory ,” Signs 30, no. 1 (2004): 1236–48.

Kaplan reflects on her trajectory as a pioneering feminist film theorist, illuminating her shift from cinema’s depictions of the “oppressions of white Western women” to the study of trauma in global and indigenous cinema. Importantly, she notes that in her earlier research, she failed to “confront the really tough questions of my own positionality.” In doing so, she invites readers to consider the ethics of witnessing and white, Western feminist participation in the development of multicultural approaches.

Jane M. Gaines, “ Film History and the Two Presents of Feminist Film Theory ,” Cinema Journal 44, no. 1 (2004): 113–19.

It may come as a surprise to many that, internationally speaking, women were indeed undertaking various forms of creative labor in the world of film production during the silent era, including screenwriting, producing, directing, etc. The question, then, is not just “why these women were forgotten” but also “why we forgot them.” Gaines considers the “historical turn” in feminist film studies, arguing that scholars must be mindful of how they narrativize and rewrite the rediscovered facts of women’s work in cinema.

Sangita Gopal, “ Feminism and the Big Picture: Conversations ,” Cinema Journal 57, no. 2 (2018): 131–36.

In this fascinating article, Gopal synthesizes responses to a series of questions posed to film scholars regarding feminist theory, praxis, and pedagogy, as well as feminism as “an unfinished project” and feminist media studies as a “boundless” field. Where theory is concerned, Gopal usefully highlights Lingzhen Wang’s and Priya Jaikumar’s suggestions for more explicitly linking and situating feminist media studies within “the big picture.” Notably, Jaikumar ponders the possibilities of feminism creating a framework such that “it is not possible to ask a question if it is absent of a politics.”

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Bad Feminist: Essays

In this section.

• Complete Collection
• Racial Justice, Racial Equity, and Anti-Racism Reading List

“ A collection of essays spanning politics, criticism, and feminism from one of the most-watched young cultural observers of her generation, Roxane Gay. ‘Pink is my favorite color. I used to say my favorite color was black to be cool, but it is pink, all shades of pink. If I have an accessory, it is probably pink. I read Vogue, and I ’ m not doing it ironically, though it might seem that way. I once live-tweeted the September issue. ’ In these funny and insightful essays, Roxane Gay takes us through the journey of her evolution as a woman (Sweet Valley High) of color (The Help) while also taking readers on a ride through culture of the last few years (Girls, Django in Chains) and commenting on the state of feminism today (abortion, Chris Brown). The portrait that emerges is not only one of an incredibly insightful woman continually growing to understand herself and our society, but also one of our culture. Bad Feminist is a sharp, funny, and spot-on look at the ways in which the culture we consume becomes who we are, and an inspiring call-to-arms of all the ways we still need to do better. ”

Gay, Roxane.  Bad Feminist: Essays . New York: Harper Perennial, 2014.

Nine New Women-Authored Essay Collections

"Essay" could perhaps use a rebranding as the word may conjure up something you've been assigned to write in school, rather than something pleasurable to consume. Essay collections usually have an overarching question or theme, but each individual essay works as a self-contained narrative or argument inviting you to read at your own pace, skip around, and take in the central topic from multiple angles. From essay-style memoirs to more heady topics touching on culture, politics, and art, enjoy these collections below, all by women, released this past spring and summer.

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by CJ Hauser

Ten days after calling off her wedding, CJ Hauser went on an expedition to Texas to study the whooping crane. After a week wading through the gulf, she realized she'd almost signed up to live someone else's life. Expanding on her viral sensation essay “The Crane Wife,” the author presents this deeply personal, candid and humorous memoir-in-essays that ponders what more expansive definitions of love might offer us all. 

She's Nice Though: Essays on Being Bad at Being Good

by Mia Mercado

Pondering her identity as an Asian woman living in the Midwest, including what “nice” means—and why anyone would want to be it, the author, in this thought-provoking and funny collection of essays, offers a mind-bending glimpse into our misperceptions and misconceptions as humans.

Some of My Best Friends: Essays in Lip Service

by Tajja Isen

Catapult  editor-in-chief and award-winning voice actor Tajja Isen explores the absurdity of living in a world that has grown fluent in the language of social justice but doesn’t always follow through. These nine daring essays explore the sometimes troubling and often awkward nature of that discord. Isen takes on the cartoon industry’s pivot away from colorblind casting, the pursuit of diverse representation in the literary world, the law’s refusal to see inequality, and the cozy fictions of nationalism. Isen deftly examines the quick, cosmetic fixes society makes to address systemic problems and reveals the unexpected ways they can misfire.

Brown Neon: Essays

by Raquel Gutiérrez

Part butch memoir, part ekphrastic travel diary, part queer family tree, Raquel Gutiérrez’s debut essay collection,  Brown Neon,  gleans insight from the sediment of land and relationships. Whether contemplating the value of adobe as both vernacular architecture and commodified art object, highlighting the feminist wounding and transphobic apparitions haunting the multigenerational lesbian social fabric, or recalling a failed romance, Gutiérrez traverses complex questions of gender, class, identity, and citizenship with curiosity and nuance.

Awake With Asashoryu and Other Essays

by Elisabeth Sharp McKetta

Whether she is spending sleepless nights watching the sumo wrestler Asashoryu with her father, settling into a new life in a fishing hamlet in Cornwall, struggling with a beloved and ultimately untrainable corgi named Goblin, or emerging from a night in the woods rethinking who she might be, McKetta’s essays sparkle and twist round and about—funny and insightful and compelling.

I'll Show Myself Out: Essays on Midlife & Motherhood

by Jessi Klein

The New York Times best-selling author and Emmy Award-winning writer and producer hilariously destroys the cultural myths and impossible expectations of modern-day motherhood and explores the humiliations, poignancies, and possibilities of midlife.

How to Read Now: Essays

by Elaine Castillo

A deeply personal and searching history of one woman’s reading life, and a wide-ranging and urgent intervention into our globalized conversations about why reading matters today. Castillo attacks the stale questions and less-than-critical proclamations that masquerade as vital discussion: reimagining the cartography of the classics, building a moral case against the settler colonialism of lauded writers like Joan Didion, taking aim at Nobel Prize winners and toppling indie filmmakers, and celebrating glorious moments in everything from popular TV like  The Watchmen  to the films of Wong Kar-wai and the work of contemporary poets like Tommy Pico.

Ripe: Essays

by Negesti Kaudo

Essays at the intersection of race, sexuality, and pop culture that confront Kaudo's experience as a Black woman and ask what it means to own one's Blackness and body when contemporary white America simultaneously denigrates and appropriates Black culture. 

Crying in the Bathroom

by Erika L. Sánchez

In these essays, Sánchez writes about everything from sex to white feminism to debilitating depression, revealing an interior life rich with ideas, self-awareness, and perception. Raunchy, insightful, unapologetic, and brutally honest,  Crying in the Bathroom  is Sánchez at her best—a book that will make you feel that post-confessional high that comes from talking for hours with your best friend.

Summaries provided via NYPL’s catalog, which draws from multiple sources. Click through to each book’s title for more.

50 Must-Read Contemporary Essay Collections

Liberty Hardy

Liberty Hardy is an unrepentant velocireader, writer, bitey mad lady, and tattoo canvas. Turn-ons include books, books and books. Her favorite exclamation is “Holy cats!” Liberty reads more than should be legal, sleeps very little, frequently writes on her belly with Sharpie markers, and when she dies, she’s leaving her body to library science. Until then, she lives with her three cats, Millay, Farrokh, and Zevon, in Maine. She is also right behind you. Just kidding! She’s too busy reading. Twitter: @MissLiberty

View All posts by Liberty Hardy

I feel like essay collections don’t get enough credit. They’re so wonderful! They’re like short story collections, but TRUE. It’s like going to a truth buffet. You can get information about sooooo many topics, sometimes in one single book! To prove that there are a zillion amazing essay collections out there, I compiled 50 great contemporary essay collections, just from the last 18 months alone.  Ranging in topics from food, nature, politics, sex, celebrity, and more, there is something here for everyone!

I’ve included a brief description from the publisher with each title. Tell us in the comments about which of these you’ve read or other contemporary essay collections that you love. There are a LOT of them. Yay, books!

Must-Read Contemporary Essay Collections

They can’t kill us until they kill us  by hanif abdurraqib.

“In an age of confusion, fear, and loss, Hanif Willis-Abdurraqib’s is a voice that matters. Whether he’s attending a Bruce Springsteen concert the day after visiting Michael Brown’s grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly.”

Would Everybody Please Stop?: Reflections on Life and Other Bad Ideas  by Jenny Allen

“Jenny Allen’s musings range fluidly from the personal to the philosophical. She writes with the familiarity of someone telling a dinner party anecdote, forgoing decorum for candor and comedy. To read  Would Everybody Please Stop?  is to experience life with imaginative and incisive humor.”

Longthroat Memoirs: Soups, Sex and Nigerian Taste Buds  by Yemisi Aribisala

“A sumptuous menu of essays about Nigerian cuisine, lovingly presented by the nation’s top epicurean writer. As well as a mouth-watering appraisal of Nigerian food,  Longthroat Memoirs  is a series of love letters to the Nigerian palate. From the cultural history of soup, to fish as aphrodisiac and the sensual allure of snails,  Longthroat Memoirs  explores the complexities, the meticulousness, and the tactile joy of Nigerian gastronomy.”

Beyond Measure: Essays  by Rachel Z. Arndt

“ Beyond Measure  is a fascinating exploration of the rituals, routines, metrics and expectations through which we attempt to quantify and ascribe value to our lives. With mordant humor and penetrating intellect, Arndt casts her gaze beyond event-driven narratives to the machinery underlying them: judo competitions measured in weigh-ins and wait times; the significance of the elliptical’s stationary churn; the rote scripts of dating apps; the stupefying sameness of the daily commute.”

Magic Hours  by Tom Bissell

“Award-winning essayist Tom Bissell explores the highs and lows of the creative process. He takes us from the set of  The Big Bang Theory  to the first novel of Ernest Hemingway to the final work of David Foster Wallace; from the films of Werner Herzog to the film of Tommy Wiseau to the editorial meeting in which Paula Fox’s work was relaunched into the world. Originally published in magazines such as  The Believer ,  The New Yorker , and  Harper’s , these essays represent ten years of Bissell’s best writing on every aspect of creation—be it Iraq War documentaries or video-game character voices—and will provoke as much thought as they do laughter.”

Dead Girls: Essays on Surviving an American Obsession  by Alice Bolin

“In this poignant collection, Alice Bolin examines iconic American works from the essays of Joan Didion and James Baldwin to  Twin Peaks , Britney Spears, and  Serial , illuminating the widespread obsession with women who are abused, killed, and disenfranchised, and whose bodies (dead and alive) are used as props to bolster men’s stories. Smart and accessible, thoughtful and heartfelt, Bolin investigates the implications of our cultural fixations, and her own role as a consumer and creator.”

Betwixt-and-Between: Essays on the Writing Life  by Jenny Boully

“Jenny Boully’s essays are ripe with romance and sensual pleasures, drawing connections between the digression, reflection, imagination, and experience that characterizes falling in love as well as the life of a writer. Literary theory, philosophy, and linguistics rub up against memory, dreamscapes, and fancy, making the practice of writing a metaphor for the illusory nature of experience.  Betwixt and Between  is, in many ways, simply a book about how to live.”

Wedding Toasts I’ll Never Give by Ada Calhoun

“In  Wedding Toasts I’ll Never Give , Ada Calhoun presents an unflinching but also loving portrait of her own marriage, opening a long-overdue conversation about the institution as it truly is: not the happy ending of a love story or a relic doomed by high divorce rates, but the beginning of a challenging new chapter of which ‘the first twenty years are the hardest.'”

How to Write an Autobiographical Novel: Essays  by Alexander Chee

“ How to Write an Autobiographical Novel  is the author’s manifesto on the entangling of life, literature, and politics, and how the lessons learned from a life spent reading and writing fiction have changed him. In these essays, he grows from student to teacher, reader to writer, and reckons with his identities as a son, a gay man, a Korean American, an artist, an activist, a lover, and a friend. He examines some of the most formative experiences of his life and the nation’s history, including his father’s death, the AIDS crisis, 9/11, the jobs that supported his writing—Tarot-reading, bookselling, cater-waiting for William F. Buckley—the writing of his first novel,  Edinburgh , and the election of Donald Trump.”

Too Much and Not the Mood: Essays  by Durga Chew-Bose

“ Too Much and Not the Mood is a beautiful and surprising exploration of what it means to be a first-generation, creative young woman working today. On April 11, 1931, Virginia Woolf ended her entry in A Writer’s Diary with the words ‘too much and not the mood’ to describe her frustration with placating her readers, what she described as the ‘cramming in and the cutting out.’ She wondered if she had anything at all that was truly worth saying. The attitude of that sentiment inspired Durga Chew-Bose to gather own writing in this lyrical collection of poetic essays that examine personhood and artistic growth. Drawing inspiration from a diverse group of incisive and inquiring female authors, Chew-Bose captures the inner restlessness that keeps her always on the brink of creative expression.”

We Were Eight Years in Power: An American Tragedy  by Ta-Nehisi Coates

“‘We were eight years in power’ was the lament of Reconstruction-era black politicians as the American experiment in multiracial democracy ended with the return of white supremacist rule in the South. In this sweeping collection of new and selected essays, Ta-Nehisi Coates explores the tragic echoes of that history in our own time: the unprecedented election of a black president followed by a vicious backlash that fueled the election of the man Coates argues is America’s ‘first white president.'”

Look Alive Out There: Essays by Sloane Crosley

“In  Look Alive Out There,  whether it’s scaling active volcanoes, crashing shivas, playing herself on  Gossip Girl,  befriending swingers, or squinting down the barrel of the fertility gun, Crosley continues to rise to the occasion with unmatchable nerve and electric one-liners. And as her subjects become more serious, her essays deliver not just laughs but lasting emotional heft and insight. Crosley has taken up the gauntlets thrown by her predecessors—Dorothy Parker, Nora Ephron, David Sedaris—and crafted something rare, affecting, and true.”

Fl â neuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London  by Lauren Elkin

“Part cultural meander, part memoir,  Flâneuse  takes us on a distinctly cosmopolitan jaunt that begins in New York, where Elkin grew up, and transports us to Paris via Venice, Tokyo, and London, all cities in which she’s lived. We are shown the paths beaten by such  flâneuses  as the cross-dressing nineteenth-century novelist George Sand, the Parisian artist Sophie Calle, the wartime correspondent Martha Gellhorn, and the writer Jean Rhys. With tenacity and insight, Elkin creates a mosaic of what urban settings have meant to women, charting through literature, art, history, and film the sometimes exhilarating, sometimes fraught relationship that women have with the metropolis.”

Idiophone  by Amy Fusselman

“Leaping from ballet to quiltmaking, from the The Nutcracker to an Annie-B Parson interview,  Idiophone  is a strikingly original meditation on risk-taking and provocation in art and a unabashedly honest, funny, and intimate consideration of art-making in the context of motherhood, and motherhood in the context of addiction. Amy Fusselman’s compact, beautifully digressive essay feels both surprising and effortless, fueled by broad-ranging curiosity, and, fundamentally, joy.”

Not That Bad: Dispatches from Rape Culture  by Roxane Gay

“In this valuable and revealing anthology, cultural critic and bestselling author Roxane Gay collects original and previously published pieces that address what it means to live in a world where women have to measure the harassment, violence, and aggression they face, and where they are ‘routinely second-guessed, blown off, discredited, denigrated, besmirched, belittled, patronized, mocked, shamed, gaslit, insulted, bullied’ for speaking out.”

Sunshine State: Essays  by Sarah Gerard

“With the personal insight of  The Empathy Exams , the societal exposal of  Nickel and Dimed , and the stylistic innovation and intensity of her own break-out debut novel  Binary Star , Sarah Gerard’s  Sunshine State  uses the intimately personal to unearth the deep reservoirs of humanity buried in the corners of our world often hardest to face.”

The Art of the Wasted Day  by Patricia Hampl

“ The Art of the Wasted Day  is a picaresque travelogue of leisure written from a lifelong enchantment with solitude. Patricia Hampl visits the homes of historic exemplars of ease who made repose a goal, even an art form. She begins with two celebrated eighteenth-century Irish ladies who ran off to live a life of ‘retirement’ in rural Wales. Her search then leads to Moravia to consider the monk-geneticist, Gregor Mendel, and finally to Bordeaux for Michel Montaigne—the hero of this book—who retreated from court life to sit in his chateau tower and write about whatever passed through his mind, thus inventing the personal essay.”

A Really Big Lunch: The Roving Gourmand on Food and Life  by Jim Harrison

“Jim Harrison’s legendary gourmandise is on full display in  A Really Big Lunch . From the titular  New Yorker  piece about a French lunch that went to thirty-seven courses, to pieces from  Brick ,  Playboy , Kermit Lynch Newsletter, and more on the relationship between hunter and prey, or the obscure language of wine reviews,  A Really Big Lunch  is shot through with Harrison’s pointed aperçus and keen delight in the pleasures of the senses. And between the lines the pieces give glimpses of Harrison’s life over the last three decades.  A Really Big Lunch  is a literary delight that will satisfy every appetite.”

Insomniac City: New York, Oliver, and Me  by Bill Hayes

“Bill Hayes came to New York City in 2009 with a one-way ticket and only the vaguest idea of how he would get by. But, at forty-eight years old, having spent decades in San Francisco, he craved change. Grieving over the death of his partner, he quickly discovered the profound consolations of the city’s incessant rhythms, the sight of the Empire State Building against the night sky, and New Yorkers themselves, kindred souls that Hayes, a lifelong insomniac, encountered on late-night strolls with his camera.”

Would You Rather?: A Memoir of Growing Up and Coming Out  by Katie Heaney

“Here, for the first time, Katie opens up about realizing at the age of twenty-eight that she is gay. In these poignant, funny essays, she wrestles with her shifting sexuality and identity, and describes what it was like coming out to everyone she knows (and everyone she doesn’t). As she revisits her past, looking for any ‘clues’ that might have predicted this outcome, Katie reveals that life doesn’t always move directly from point A to point B—no matter how much we would like it to.”

Tonight I’m Someone Else: Essays  by Chelsea Hodson

“From graffiti gangs and  Grand Theft Auto  to sugar daddies, Schopenhauer, and a deadly game of Russian roulette, in these essays, Chelsea Hodson probes her own desires to examine where the physical and the proprietary collide. She asks what our privacy, our intimacy, and our own bodies are worth in the increasingly digital world of liking, linking, and sharing.”

We Are Never Meeting in Real Life.: Essays  by Samantha Irby

“With  We Are Never Meeting in Real Life. , ‘bitches gotta eat’ blogger and comedian Samantha Irby turns the serio-comic essay into an art form. Whether talking about how her difficult childhood has led to a problem in making ‘adult’ budgets, explaining why she should be the new Bachelorette—she’s ’35-ish, but could easily pass for 60-something’—detailing a disastrous pilgrimage-slash-romantic-vacation to Nashville to scatter her estranged father’s ashes, sharing awkward sexual encounters, or dispensing advice on how to navigate friendships with former drinking buddies who are now suburban moms—hang in there for the Costco loot—she’s as deft at poking fun at the ghosts of her past self as she is at capturing powerful emotional truths.”

This Will Be My Undoing: Living at the Intersection of Black, Female, and Feminist in (White) America  by Morgan Jerkins

“Doubly disenfranchised by race and gender, often deprived of a place within the mostly white mainstream feminist movement, black women are objectified, silenced, and marginalized with devastating consequences, in ways both obvious and subtle, that are rarely acknowledged in our country’s larger discussion about inequality. In  This Will Be My Undoing , Jerkins becomes both narrator and subject to expose the social, cultural, and historical story of black female oppression that influences the black community as well as the white, male-dominated world at large.”

Everywhere Home: A Life in Essays  by Fenton Johnson

“Part retrospective, part memoir, Fenton Johnson’s collection  Everywhere Home: A Life in Essays  explores sexuality, religion, geography, the AIDS crisis, and more. Johnson’s wanderings take him from the hills of Kentucky to those of San Francisco, from the streets of Paris to the sidewalks of Calcutta. Along the way, he investigates questions large and small: What’s the relationship between artists and museums, illuminated in a New Guinean display of shrunken heads? What’s the difference between empiricism and intuition?”

One Day We’ll All Be Dead and None of This Will Matter: Essays  by Scaachi Koul

“In  One Day We’ll All Be Dead and None of This Will Matter , Scaachi Koul deploys her razor-sharp humor to share all the fears, outrages, and mortifying moments of her life. She learned from an early age what made her miserable, and for Scaachi anything can be cause for despair. Whether it’s a shopping trip gone awry; enduring awkward conversations with her bikini waxer; overcoming her fear of flying while vacationing halfway around the world; dealing with Internet trolls, or navigating the fears and anxieties of her parents. Alongside these personal stories are pointed observations about life as a woman of color: where every aspect of her appearance is open for critique, derision, or outright scorn; where strict gender rules bind in both Western and Indian cultures, leaving little room for a woman not solely focused on marriage and children to have a career (and a life) for herself.”

Tell Me How It Ends: An Essay in 40 Questions  by Valeria Luiselli and jon lee anderson (translator)

“A damning confrontation between the American dream and the reality of undocumented children seeking a new life in the U.S. Structured around the 40 questions Luiselli translates and asks undocumented Latin American children facing deportation,  Tell Me How It Ends  (an expansion of her 2016 Freeman’s essay of the same name) humanizes these young migrants and highlights the contradiction between the idea of America as a fiction for immigrants and the reality of racism and fear—both here and back home.”

All the Lives I Want: Essays About My Best Friends Who Happen to Be Famous Strangers  by Alana Massey

“Mixing Didion’s affected cool with moments of giddy celebrity worship, Massey examines the lives of the women who reflect our greatest aspirations and darkest fears back onto us. These essays are personal without being confessional and clever in a way that invites readers into the joke. A cultural critique and a finely wrought fan letter, interwoven with stories that are achingly personal, All the Lives I Want is also an exploration of mental illness, the sex industry, and the dangers of loving too hard.”

Typewriters, Bombs, Jellyfish: Essays  by Tom McCarthy

“Certain points of reference recur with dreamlike insistence—among them the artist Ed Ruscha’s  Royal Road Test , a photographic documentation of the roadside debris of a Royal typewriter hurled from the window of a traveling car; the great blooms of jellyfish that are filling the oceans and gumming up the machinery of commerce and military domination—and the question throughout is: How can art explode the restraining conventions of so-called realism, whether aesthetic or political, to engage in the active reinvention of the world?”

Nasty Women: Feminism, Resistance, and Revolution in Trump’s America  by Samhita Mukhopadhyay and Kate Harding

“When 53 percent of white women voted for Donald Trump and 94 percent of black women voted for Hillary Clinton, how can women unite in Trump’s America? Nasty Women includes inspiring essays from a diverse group of talented women writers who seek to provide a broad look at how we got here and what we need to do to move forward.”

Don’t Call Me Princess: Essays on Girls, Women, Sex, and Life  by Peggy Orenstein

“Named one of the ’40 women who changed the media business in the last 40 years’ by  Columbia Journalism Review , Peggy Orenstein is one of the most prominent, unflinching feminist voices of our time. Her writing has broken ground and broken silences on topics as wide-ranging as miscarriage, motherhood, breast cancer, princess culture and the importance of girls’ sexual pleasure. Her unique blend of investigative reporting, personal revelation and unexpected humor has made her books bestselling classics.”

When You Find Out the World Is Against You: And Other Funny Memories About Awful Moments  by Kelly Oxford

“Kelly Oxford likes to blow up the internet. Whether it is with the kind of Tweets that lead  Rolling Stone  to name her one of the Funniest People on Twitter or with pictures of her hilariously adorable family (human and animal) or with something much more serious, like creating the hashtag #NotOkay, where millions of women came together to share their stories of sexual assault, Kelly has a unique, razor-sharp perspective on modern life. As a screen writer, professional sh*t disturber, wife and mother of three, Kelly is about everything but the status quo.”

Too Fat, Too Slutty, Too Loud: The Rise and Reign of the Unruly Woman  by Anne Helen Petersen

“You know the type: the woman who won’t shut up, who’s too brazen, too opinionated—too much. She’s the unruly woman, and she embodies one of the most provocative and powerful forms of womanhood today. In  Too Fat, Too Slutty, Too Loud , Anne Helen Petersen uses the lens of ‘unruliness’ to explore the ascension of pop culture powerhouses like Lena Dunham, Nicki Minaj, and Kim Kardashian, exploring why the public loves to love (and hate) these controversial figures. With its brisk, incisive analysis,  Too Fat, Too Slutty, Too Loud  will be a conversation-starting book on what makes and breaks celebrity today.”

Well, That Escalated Quickly: Memoirs and Mistakes of an Accidental Activist  by Franchesca Ramsey

“In her first book, Ramsey uses her own experiences as an accidental activist to explore the many ways we communicate with each other—from the highs of bridging gaps and making connections to the many pitfalls that accompany talking about race, power, sexuality, and gender in an unpredictable public space…the internet.”

Shrewed: A Wry and Closely Observed Look at the Lives of Women and Girls  by Elizabeth Renzetti

“Drawing upon Renzetti’s decades of reporting on feminist issues,  Shrewed  is a book about feminism’s crossroads. From Hillary Clinton’s failed campaign to the quest for equal pay, from the lessons we can learn from old ladies to the future of feminism in a turbulent world, Renzetti takes a pointed, witty look at how far we’ve come—and how far we have to go.”

What Are We Doing Here?: Essays  by Marilynne Robinson

“In this new essay collection she trains her incisive mind on our modern political climate and the mysteries of faith. Whether she is investigating how the work of great thinkers about America like Emerson and Tocqueville inform our political consciousness or discussing the way that beauty informs and disciplines daily life, Robinson’s peerless prose and boundless humanity are on full display.”

Double Bind: Women on Ambition  by Robin Romm

“‘A work of courage and ferocious honesty’ (Diana Abu-Jaber),  Double Bind  could not come at a more urgent time. Even as major figures from Gloria Steinem to Beyoncé embrace the word ‘feminism,’ the word ‘ambition’ remains loaded with ambivalence. Many women see it as synonymous with strident or aggressive, yet most feel compelled to strive and achieve—the seeming contradiction leaving them in a perpetual double bind. Ayana Mathis, Molly Ringwald, Roxane Gay, and a constellation of ‘nimble thinkers . . . dismantle this maddening paradox’ ( O, The Oprah Magazine ) with candor, wit, and rage. Women who have made landmark achievements in fields as diverse as law, dog sledding, and butchery weigh in, breaking the last feminist taboo once and for all.”

The Destiny Thief: Essays on Writing, Writers and Life  by Richard Russo

“In these nine essays, Richard Russo provides insight into his life as a writer, teacher, friend, and reader. From a commencement speech he gave at Colby College, to the story of how an oddly placed toilet made him reevaluate the purpose of humor in art and life, to a comprehensive analysis of Mark Twain’s value, to his harrowing journey accompanying a dear friend as she pursued gender-reassignment surgery,  The Destiny Thief  reflects the broad interests and experiences of one of America’s most beloved authors. Warm, funny, wise, and poignant, the essays included here traverse Russo’s writing life, expanding our understanding of who he is and how his singular, incredibly generous mind works. An utter joy to read, they give deep insight into the creative process from the prospective of one of our greatest writers.”

Curry: Eating, Reading, and Race by Naben Ruthnum

“Curry is a dish that doesn’t quite exist, but, as this wildly funny and sharp essay points out, a dish that doesn’t properly exist can have infinite, equally authentic variations. By grappling with novels, recipes, travelogues, pop culture, and his own upbringing, Naben Ruthnum depicts how the distinctive taste of curry has often become maladroit shorthand for brown identity. With the sardonic wit of Gita Mehta’s  Karma Cola  and the refined, obsessive palette of Bill Buford’s  Heat , Ruthnum sinks his teeth into the story of how the beloved flavor calcified into an aesthetic genre that limits the imaginations of writers, readers, and eaters.”

The River of Consciousness  by Oliver Sacks

“Sacks, an Oxford-educated polymath, had a deep familiarity not only with literature and medicine but with botany, animal anatomy, chemistry, the history of science, philosophy, and psychology.  The River of Consciousness  is one of two books Sacks was working on up to his death, and it reveals his ability to make unexpected connections, his sheer joy in knowledge, and his unceasing, timeless project to understand what makes us human.”

All the Women in My Family Sing: Women Write the World: Essays on Equality, Justice, and Freedom (Nothing But the Truth So Help Me God)  by Deborah Santana and America Ferrera

“ All the Women in My Family Sing  is an anthology documenting the experiences of women of color at the dawn of the twenty-first century. It is a vital collection of prose and poetry whose topics range from the pressures of being the vice-president of a Fortune 500 Company, to escaping the killing fields of Cambodia, to the struggles inside immigration, identity, romance, and self-worth. These brief, trenchant essays capture the aspirations and wisdom of women of color as they exercise autonomy, creativity, and dignity and build bridges to heal the brokenness in today’s turbulent world.”

We Wear the Mask: 15 True Stories of Passing in America  by Brando Skyhorse and Lisa Page

“For some, ‘passing’ means opportunity, access, or safety. Others don’t willingly pass but are ‘passed’ in specific situations by someone else.  We Wear the Mask , edited by  Brando Skyhorse  and  Lisa Page , is an illuminating and timely anthology that examines the complex reality of passing in America. Skyhorse, a Mexican American, writes about how his mother passed him as an American Indian before he learned who he really is. Page shares how her white mother didn’t tell friends about her black ex-husband or that her children were, in fact, biracial.”

Feel Free: Essays by Zadie Smith

“Since she burst spectacularly into view with her debut novel almost two decades ago, Zadie Smith has established herself not just as one of the world’s preeminent fiction writers, but also a brilliant and singular essayist. She contributes regularly to  The New Yorker  and the  New York Review of Books  on a range of subjects, and each piece of hers is a literary event in its own right.”

The Mother of All Questions: Further Reports from the Feminist Revolutions  by Rebecca Solnit

“In a timely follow-up to her national bestseller  Men Explain Things to Me , Rebecca Solnit offers indispensable commentary on women who refuse to be silenced, misogynistic violence, the fragile masculinity of the literary canon, the gender binary, the recent history of rape jokes, and much more. In characteristic style, Solnit mixes humor, keen analysis, and powerful insight in these essays.”

The Wrong Way to Save Your Life: Essays  by Megan Stielstra

“Whether she’s imagining the implications of open-carry laws on college campuses, recounting the story of going underwater on the mortgage of her first home, or revealing the unexpected pains and joys of marriage and motherhood, Stielstra’s work informs, impels, enlightens, and embraces us all. The result is something beautiful—this story, her courage, and, potentially, our own.”

Against Memoir: Complaints, Confessions & Criticisms  by Michelle Tea

“Delivered with her signature honesty and dark humor, this is Tea’s first-ever collection of journalistic writing. As she blurs the line between telling other people’s stories and her own, she turns an investigative eye to the genre that’s nurtured her entire career—memoir—and considers the price that art demands be paid from life.”

A Twenty Minute Silence Followed by Applause  by Shawn Wen

“In precise, jewel-like scenes and vignettes,  A Twenty Minute Silence Followed by Applause  pays homage to the singular genius of a mostly-forgotten art form. Drawing on interviews, archival research, and meticulously observed performances, Wen translates the gestural language of mime into a lyric written portrait by turns whimsical, melancholic, and haunting.”

Acid West: Essays  by Joshua Wheeler

“The radical evolution of American identity, from cowboys to drone warriors to space explorers, is a story rooted in southern New Mexico.  Acid West  illuminates this history, clawing at the bounds of genre to reveal a place that is, for better or worse, home. By turns intimate, absurd, and frightening,  Acid West  is an enlightening deep-dive into a prophetic desert at the bottom of America.”

Sexographies  by Gabriela Wiener and Lucy Greaves And jennifer adcock (Translators)

“In fierce and sumptuous first-person accounts, renowned Peruvian journalist Gabriela Wiener records infiltrating the most dangerous Peruvian prison, participating in sexual exchanges in swingers clubs, traveling the dark paths of the Bois de Boulogne in Paris in the company of transvestites and prostitutes, undergoing a complicated process of egg donation, and participating in a ritual of ayahuasca ingestion in the Amazon jungle—all while taking us on inward journeys that explore immigration, maternity, fear of death, ugliness, and threesomes. Fortunately, our eagle-eyed voyeur emerges from her narrative forays unscathed and ready to take on the kinks, obsessions, and messiness of our lives.  Sexographies  is an eye-opening, kamikaze journey across the contours of the human body and mind.”

The Nature Fix: Why Nature Makes Us Happier, Healthier, and More Creative  by Florence Williams

“From forest trails in Korea, to islands in Finland, to eucalyptus groves in California, Florence Williams investigates the science behind nature’s positive effects on the brain. Delving into brand-new research, she uncovers the powers of the natural world to improve health, promote reflection and innovation, and strengthen our relationships. As our modern lives shift dramatically indoors, these ideas—and the answers they yield—are more urgent than ever.”

Can You Tolerate This?: Essays  by Ashleigh Young

“ Can You Tolerate This?  presents a vivid self-portrait of an introspective yet widely curious young woman, the colorful, isolated community in which she comes of age, and the uneasy tensions—between safety and risk, love and solitude, the catharsis of grief and the ecstasy of creation—that define our lives.”

What are your favorite contemporary essay collections?

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Essay on Feminism

500 words essay on feminism.

Feminism is a social and political movement that advocates for the rights of women on the grounds of equality of sexes. It does not deny the biological differences between the sexes but demands equality in opportunities. It covers everything from social and political to economic arenas. In fact, feminist campaigns have been a crucial part of history in women empowerment. The feminist campaigns of the twentieth century made the right to vote, public property, work and education possible. Thus, an essay on feminism will discuss its importance and impact.

Importance of Feminism

Feminism is not just important for women but for every sex, gender, caste, creed and more. It empowers the people and society as a whole. A very common misconception is that only women can be feminists.

It is absolutely wrong but feminism does not just benefit women. It strives for equality of the sexes, not the superiority of women. Feminism takes the gender roles which have been around for many years and tries to deconstruct them.

This allows people to live freely and empower lives without getting tied down by traditional restrictions. In other words, it benefits women as well as men. For instance, while it advocates that women must be free to earn it also advocates that why should men be the sole breadwinner of the family? It tries to give freedom to all.

Most importantly, it is essential for young people to get involved in the feminist movement. This way, we can achieve faster results. It is no less than a dream to live in a world full of equality.

Thus, we must all look at our own cultures and communities for making this dream a reality. We have not yet reached the result but we are on the journey, so we must continue on this mission to achieve successful results.

Impact of Feminism

Feminism has had a life-changing impact on everyone, especially women. If we look at history, we see that it is what gave women the right to vote. It was no small feat but was achieved successfully by women.

Further, if we look at modern feminism, we see how feminism involves in life-altering campaigns. For instance, campaigns that support the abortion of unwanted pregnancy and reproductive rights allow women to have freedom of choice.

Moreover, feminism constantly questions patriarchy and strives to renounce gender roles. It allows men to be whoever they wish to be without getting judged. It is not taboo for men to cry anymore because they must be allowed to express themselves freely.

Similarly, it also helps the LGBTQ community greatly as it advocates for their right too. Feminism gives a place for everyone and it is best to practice intersectional feminism to understand everyone’s struggle.

Get the huge list of more than 500 Essay Topics and Ideas

Conclusion of the Essay on Feminism

The key message of feminism must be to highlight the choice in bringing personal meaning to feminism. It is to recognize other’s right for doing the same thing. The sad part is that despite feminism being a strong movement, there are still parts of the world where inequality and exploitation of women take places. Thus, we must all try to practice intersectional feminism.

FAQ of Essay on Feminism

Question 1: What are feminist beliefs?

Answer 1: Feminist beliefs are the desire for equality between the sexes. It is the belief that men and women must have equal rights and opportunities. Thus, it covers everything from social and political to economic equality.

Question 2: What started feminism?

Answer 2: The first wave of feminism occurred in the late nineteenth and early twentieth centuries. It emerged out of an environment of urban industrialism and liberal, socialist politics. This wave aimed to open up new doors for women with a focus on suffrage.

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THE DIGITAL MANIFESTO: CYBERFEMINISM AROUND THE GLOBE (Edited Collection)

Cyberfeminism is a fusion of the term 'cyber', denoting the act of steering, governing, and controlling, and 'feminism', which represents an activist movement dedicated to women's liberation and justice at various levels - local, national, and international. Cyber-feminism aims to bridge the gap between the historical and philosophical traditions of feminism and contemporary feminist initiatives both online and offline. These initiatives focus on the lived experiences and realities of women from diverse backgrounds, including different ages, races, and socioeconomic statuses. The primary objective is to establish feminist politics in the digital sphere and equip women with the necessary skills, knowledge, and solidarity from fellow women across the globe. In spearheading this politicised feminist movement online, cyber-feminists must confront the novel social, cultural, and economic dynamics brought about by information technology, recognising that cyberspace mirrors the gender dynamics and struggles prevalent in the physical world (Wilding, 1998).

Emerging as a powerful tool in challenging traditional gender norms and advocating for women’s rights across the globe, Cyberfeminism movements have become a multifaceted phenomenon that intersects with empowerment, leadership, and activism. By utilising digital platforms, cyberfeminism has provided a medium for women to voice their concerns, share experiences, and mobilise for social change, thereby influencing the gender landscape of different nations and cultures. Moreover, cyberfeminism has also played a crucial role in raising awareness about women’s rights issues, which were previously considered taboo. By utilising online platforms, women have been able to shed light on issues such as domestic violence, sexual harassment, and discrimination. This has sparked public discussion and brought attention to these issues, leading to increased pressure on the authorities to address them.

This edited collection seeks to investigate the influence of cyber-feminism and digital activism in addressing gender inequalities and advocating for women's rights around the globe. Utilising feminist theories, postcolonial studies, and media studies, this collection will study the intersection of gender, technology, and activism within the realm of cyberfeminism.

Proposals from scholars at all stages of their careers on the intersection of Feminism, Media, and Cultural studies will be considered.

Questions to consider (potential topics):

• How has cyberfeminism and digital movements reshaped gender discourse, empowered women, and challenged societal norms through digital activism and advocacy?
• How has cyberfeminism reshaped gender discourse, empowered women, and challenged societal norms through digital activism and advocacy?
• What are the challenges and opportunities for cyberfeminists on a global scale?
• How has Art (Street Art/Film/TV Shows) and Music (and music videos) influenced and shaped cyber-feminist movements in different parts of the world (Asia/Middle East/North America/South America/Europe etc)?
• What are the socio-economic barriers to technology access and how do they impact the effectiveness of cyberfeminism?
• How has cyber feminism in different parts of the globe influenced policy and legal frameworks?

-       Cyberfeminism in the Middle East, North America, Asia, South American and Europe.

-       Cyberfeminism in Film, Music and Art.

-       Cyberfeminism and the Waves of Feminism.

-       The Evolution of Cyberfeminism.

Please email proposals of no more than 350 words to Miniature Malekpour at the following email address: [email protected] or [email protected]

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Class and feminism;: A collection of essays from the Furies, Paperback – January 1, 1974

• Print length 90 pages
• Language English
• Publisher Diana Press
• Publication date January 1, 1974
• ISBN-10 0884470040
• ISBN-13 978-0884470045
• See all details

Product details

• Publisher ‏ : ‎ Diana Press; First Edition (January 1, 1974)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 90 pages
• ISBN-10 ‏ : ‎ 0884470040
• ISBN-13 ‏ : ‎ 978-0884470045
• Item Weight ‏ : ‎ 4.2 ounces
• Best Sellers Rank: #5,669,412 in Books ( See Top 100 in Books )

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In China, Ruled by Men, Women Quietly Find a Powerful Voice

Women in Shanghai gather in bars, salons and bookstores to reclaim their identities as the country’s leader calls for China to adopt a “childbearing culture.”

By Alexandra Stevenson

Reporting from Shanghai

In bars tucked away in alleys and at salons and bookstores around Shanghai, women are debating their place in a country where men make the laws.

Some wore wedding gowns to take public vows of commitment to themselves. Others gathered to watch films made by women about women. The bookish flocked to female bookshops to read titles like “The Woman Destroyed” and “Living a Feminist Life.”

Women in Shanghai, and some of China’s other biggest cities, are negotiating the fragile terms of public expression at a politically precarious moment. China’s ruling Communist Party has identified feminism as a threat to its authority. Female rights activists have been jailed . Concerns about harassment and violence against women are ignored or outright silenced .

China’s leader, Xi Jinping, has diminished the role of women at work and in public office . There are no female members of Mr. Xi’s inner circle or the Politburo, the executive policymaking body. He has invoked more traditional roles for women, as caretakers and mothers, in planning a new “ childbearing culture ” to address a shrinking population.

But groups of women around China are quietly reclaiming their own identities. Many are from a generation that grew up with more freedom than their mothers. Women in Shanghai, profoundly shaken by a two-month Covid lockdown in 2022, are being driven by a need to build community.

“I think everyone living in this city seems to have reached this stage that they want to explore more about the power of women,” said Du Wen, the founder of Her, a bar that hosts salon discussions.

Frustrated by the increasingly narrow understanding of women by the public, Nong He, a film and theater student, held a screening of three documentaries about women by female Chinese directors.

“I think we should have a broader space for women to create,” Ms. He said. “We hope to organize such an event to let people know what our life is like, what the life of other women is like, and with that understanding, we can connect and provide some help to each other.”

At quietly advertised events, women question misogynistic tropes in Chinese culture. “Why are lonely ghosts always female?” one woman recently asked, referring to Chinese literature’s depiction of homeless women after death. They share tips for beginners to feminism. Start with history, said Tang Shuang, the owner of Paper Moon, which sells books by female authors. “This is like the basement of the structure.”

There are few reliable statistics about gender violence and sexual harassment in China, but incidents of violence against women have occurred with greater frequency, according to researchers and social workers. Stories have circulated widely online of women being physically maimed or brutally murdered for trying to leave their husbands, or savagely beaten for resisting unwanted attention from men. The discovery of a woman who was chained inside a doorless shack in the eastern province of Jiangsu became one of the most debated topics online in years.

With each case, the reactions have been highly divisive. Many people denounced the attackers and called out sexism in society. Many others blamed the victims.

The way these discussions polarize society unnerved Ms. Tang, an entrepreneur and former deputy publisher of Vogue China. Events in her own life unsettled her, too. As female friends shared feelings of shame and worthlessness for not getting married, Ms. Tang searched for a framework to articulate what she was feeling.

“Then I found out, you know, even myself, I don’t have very clear thoughts about these things,” she said. “People are eager to talk, but they don’t know what they are talking about.” Ms. Tang decided to open Paper Moon, a store for intellectually curious readers like herself.

The bookstore is divided into an academic section that features feminist history and social studies, as well as literature and poetry. There is an area for biographies. “You need to have some real stories to encourage women,” Ms. Tang said.

Anxiety about attracting the wrong kind of attention is always present.

When Ms. Tang opened her store, she placed a sign in the door describing it as a feminist bookstore that welcomed all genders, as well as pets. “But my friend warned me to take it out because, you know, I could cause trouble by using the word feminism.”

Wang Xia, the owner of Xin Chao Bookstore, has chosen to stay away from the “F” word altogether. Instead she described her bookstore as “woman-themed.” When she opened it in 2020, the store was a sprawling space with nooks to foster private conversations and six study rooms named after famous female authors like Simone de Beauvoir.

Xin Chao Bookstore served more than 50,000 people through events, workshops and online lectures, Ms. Wang said. It had more than 20,000 books about art, literature and self-improvement — books about women and books for women. The store became so prominent that state-owned media wrote about it and the Shanghai government posted the article on its website.

Still, Ms. Wang was careful to steer clear of making a political statement. “My ambition is not to develop feminism,” she said.

For Ms. Du, the Her founder, empowering women is at the heart of her motivation. She was jolted into action by the isolation of the pandemic: Shanghai ordered its residents to stay in their apartments under lockdown for two months, and her world narrowed to the walls of her apartment.

For years she dreamed of opening a place where she could elevate the voices of women, and now it seemed more urgent than ever. After the lockdown, she opened Her, a place where women could strike friendships and debate the social expectations that society had placed on them.

On International Women’s Day in March, Her held an event it called Marry Me, in which women took vows to themselves. The bar has also hosted a salon where women acted out the roles of mothers and daughters. Many younger women described a reluctance to be treated the way their mothers were treated and said they did not know how to talk to them, Ms. Du said.

The authorities have met with Ms. Du and indicated that as long as the events at Her didn’t become too popular, there was a place for it in Shanghai, she said.

But in China, there is always the possibility that officials will crack down. “They never tell you clearly what is forbidden,” Ms. Tang of Paper Moon said.

Ms. Wang recently moved Xin Chao Bookstore into Shanghai Book City, a famous store with large atriums and long columns of bookcases. A four-volume collection of Mr. Xi’s writings is prominently displayed in several languages.

Book City is huge. The space for Xin Chao Bookstore is not, Ms. Wang said, with several shelves inside and around a small room that may eventually hold about only 3,000 books.

“It’s a small cell of the city, a cultural cell,” Ms. Wang said.

Still, it stands out in China.

“Not every city has a woman’s bookstore,” she said. “There are many cities that do not have such cultural soil.”

Li You contributed to research.

An earlier version of this article misstated Tang Shuang’s former role at Vogue China. She was a deputy publisher, not a deputy editor. 

How we handle corrections

Alexandra Stevenson is the Shanghai bureau chief for The Times, reporting on China’s economy and society. More about Alexandra Stevenson

Photo essay: A collection of our favorite Houston Landing photos for April 2024

Last week, I started typing up a list in the Notes app on my iPhone entitled “Compelling Visual Storytelling Scenes.”

Photos have always given me perspective, and I wanted to compile a list of scenes that stirred a strong sense of emotion in me. Some of the pictures on this list are from moments we photographed at the Landing; others are photos made by other colleagues.

I created the list to inspire both you, the reader, and our newsroom – reporters, editors and photographers alike – as we continue to brainstorm and dissect which elements make for a captivating photo. 

The list includes examples of real moments:

• A father fighting back tears at his daughter’s high school graduation while facing an imminent deportation order
• A truck driver taking a break from their route to play the guitar in a field
• A man training his dog without a care in the world with a refinery literally on fire in the background

This month, Houston Landing’s best photography captured several scenes I know will be engraved in my memory: 

• Iqra Ali and Ali Aamar trying a football toss at an arcade during an Eid al-Fitr celebration in Houston, photographed by independent photojournalist Mark Felix
• Beautifully silhouetted actresses playing the roles of Jesus Christ’s followers before the Stations of the Cross on Good Friday at Queen of Peace Catholic Church, by staff photojournalist Antranik Tavitian
• Houston Mayor John Whitmire, who, instead of standing behind a podium, stakes a sign into the ground while announcing that the controversial Freed-Montrose Neighborhood Library will remain open, a moment-based image taken by independent photojournalist Meridith Kohut

Moments ground us, and April’s selection of Landing photojournalism memorializes those moments — whether it’s independent photographer Annie Mulligan’s picture of third graders at Anderson Elementary School gasping in awe at the solar eclipse, or a snapshot from independent photographer Meridith Kohut of 10-year-old William Lee launching a dragon kite into the air during the Hermann Park Conservancy’s Kite Festival.

I urge you, as a Landing reader, to spend some time with this month’s compilation of photos and to challenge yourself to consider how a picture turns a story from a string of words into a moment encapsulated in color and shape.

The list in my iPhone’s Notes app came from my desire to encourage our staff to reconsider how journalists incorporate and prioritize visual storytelling in our overall work. Photos comprise individual moments of time, yes, but they also complete — not just enhance — the overall story we publish.

The post Photo essay: A collection of our favorite Houston Landing photos for April 2024 appeared first on Houston Landing .

Porn for women: Can it really be feminist or ethical?

Adult film directors and sexologists explain the transformation of the porn industry and question whether anything is really changing with its new gendered perspective.

Irina Vega had always been very curious about porn. “From the first time I saw a video when I was young, I was really struck by the people who work in it,” recalls the director and producer of Altporn4U.com . At the age of 24, she was living in Barcelona, where she was studying electronics and working in the hospitality industry. At that time, she started an open relationship in which she met people from the porn industry. She was encouraged to give it a try.

Seventeen years have passed since then. Currently, there are those who think that the industry is evolving toward less sordid, more open, transparent and inclusive places, although there are also those who have doubts about it and those who believe that porn, by its very nature, is and always will be a source of exploitation.

“Now, it’s easier to find feminist porn, ethical porn... People who are curious and have a certain sensitivity can look for porn that is much more aligned with their tastes and values now,” says Vega, 41, who has fought for the existence of alternative porn in Spain. “I don’t rely on statistics to produce porn, but I try to do something authorial, creative and with values,” she says. Vega describes her “feminist porn” as films in which equality is considered both in front of and behind the camera: “In front of the camera it should be clear that women also have a role as subjects and not as objects.”

Her website hosts dozens of pay-per-view films. In the manifesto section, they explain that their ethical values are diversity and feminism, which includes acceptance of all kinds of body shapes, gender identities, ages (as long as they are of age) and ethnicities. “The pleasure of all performers matters. Before filming, performers choose who their sexual partners will be, discuss their tastes and agree on practices. Performers can choose whether they want to use a condom or not, providing up-to-date STD testing,” reads the text. In addition, it explains that payments are fair and that “each director or studio that performs is licensed or paid a commission for the sale of their content.”

There are other companies, such as PinkLabel.tv , Hardwerk, Lust Cinema, Pink & White and Wild Galaxies, among others, that are dedicated to this type of production. A subscription to PinkLabel costs €10 ($10.67) per month. Vega explains that “for some years now, platforms have emerged, such as the ones mentioned above, that help independent producers and performers self-manage and upload their own content.”

However, this type of porn is still only a very small part of what is made within the industry. One need only type the word porn into a search engine and, in a matter of seconds, there are over 5.7 billion results on the internet, from which you can access websites that offer free content.

The porn director and producer Paulita Pappel has secured grants from the German government to produce a pornography that invests in this more diverse type of product. “They uploaded it on the internet for free so that anyone could watch it. I think it’s wonderful to see that a government is open and creates such interesting offerings for the public,” Vega says proudly.

For her part, Paulita explains that, since she was a child , she has been conflicted by feeling fascinated by porn while society always instilled in her that it is bad because it exploits women and has a markedly misogynistic character. “Later on, I met feminist women who made a different kind of porn and sought to change it from within the industry.” This movement began to emerge in the United States in the 1980s.

In this type of production, consent and transparency always come first when filming. “We make porn for women because until now porn has been defined as being for men,” she explains. She notes that in her films she aspires to celebrate sexuality, desire and diversity, not only for women but for everyone.

Although she describes what she does as feminist and ethical porn, she has stopped saying so because she no longer wants to reproduce the idea that mainstream porn is wrong. “Today, most porn is done by people who sell it to platforms that distribute it,” she says. For her, the kind of audiovisual content she makes is just like any other genre you can watch on Netflix.

“I’ve been doing porn for the last 20 years and trying to change the way society sees it, offering something beyond the basics.” She explains that she does not just try to create sexual excitement, but that her work seeks to make it a more complete experience and fulfill people’s fantasies in front of the camera. Before each shoot, she sends a questionnaire to all the actors so that they are the ones who choose which positions they want to perform in, their limits and their sexual preferences. “There is and there has to be porn for all tastes, there should be no distinction between genders,” she reflects.

Against the concept of ethical porn

Not everyone supports porn’s progress. In Spain, more and more pornography is being consumed and less and less actual sex is being had, sexologist Alejandro Villena Moya explains. For almost a decade, Villena has been treating patients with pornography addiction as the clinical director of the Darle Una Vuelta Association. For Villena, there is no such thing as ethical porn because the very concept is impossible to separate from prostitution.

Villena is the author of the book POR qué NO?: Cómo prevenir y ayudar en la adicción a la pornografía [Why Not? How to prevent and help porn addiction]. He says that porn consumption is a digital escape route where the desire to share is lost. “It has been proven that the higher the consumption of porn, the more cases of erectile dysfunction there are among men. The body is developing a preference for porn because it gets a rush of excitement that is so great that, when you have a real sexual relationship , it becomes boring and you need something else.”

“Although they are trying to go off script, it’s not healthy,” Villena opines about ethical porn directors. He is not the only academic to question the concept. The University of Dayton study But What about Feminist Pornography: Examining the Work of Tristan Taormino concluded that there are no healthy effects on its consumers’ sexual and relational lives. “The intention is good, but that does not justify the fact that they are ultimately profiting from an unregulated industry that is known to abuse women and exploit minors and where there is a very high risk of addiction,” observes Villena, who says that the focus should not be on improving pornography for women, but on improving sex education in society.

Vega agrees: “I wish sex education were promoted in schools so that, among other things, people would know how to consume this type of content and enjoy it just like everyone else without having to fall into an addiction.”

For sexologist Iván Rotella, a member of the State Society of Sexology Professionals, there is no such thing as porn for women because women do not have a different desire from men: “In any case, it should be called ethical porn.”

Rotella warns that increasingly more men are constructing their erotic imaginary through porn, and that is where they receive the sexual education they are not given at school or at home. “I see it in my high school when I ask them and they believe that sexual relationships work like they do in porn, where women don’t see themselves reflected. Conventional porn is made so that everything revolves around genitals, male pleasure and the penis.”

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