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An exploration of gender and desire from our most exciting new public intellectual

A GROUNDBREAKING EXPLORATION OF GENDER AND DESIRE FROM THE PULITZER PRIZE-WINNING ESSAYIST AND CRITIC

Chu A: Females

Females

Females Afterword to the 2024 edition Acknowledgments Notes

For decades, Grace Coddington¿s personal touch has steered wildly imaginative fashion spreads in Vogue magazine. Then came The September Issue, the behind-the-scenes documentary that turned the spotlight on a woman with a no-nonsense attitude and an unerring visual instinct. Overnight, the flame-haired Grace became a heroine for fashion insiders and the general public alike. Witty and forthright, and illustrated throughout with vintage photographs and exclusive line-drawings, Grace: A Memoir shares the excitement and vision that go into producing so many unforgettable fashion images. Here are the designers, models, photographers, hairstylists, make-up artists and celebrities with whom Grace has created her `stories in pictures¿ ¿ whether it be Jerry Hall conquering the USSR or Tom Ford falling down a rabbit hole in Annie Leibovitz¿s version of Alice in Wonderland. Grace¿s own life has been as dreamlike as one of her madcap fashion spreads. Brought up in windswept wartime Anglesey, she arrived in London, aged eighteen, and quickly became a face of the Sixties. The muse behind Vidal Sassoon¿s Five Point Cut, she posed for Bailey, Donovan, Duffy and Norman Parkinson in Swinging London and jumped into a pool in Saint-Tropez for Helmut Newton. Surviving a serious car-crash, she later became a fashion editor at British Vogue and during the Seventies and the Eighties started to create the fantasy travelogues that would become her trademark. Friendships bloomed ¿ with Bruce Weber and Calvin Klein, whose offer of a job took Grace to New York. While two early marriages to restaurateur Michael Chow and photographer Willie Christie were brief, her romance with the hairstylist Didier Malige has endured. And her professional partnership with Anna Wintour ¿ with whom she has collaborated for over twenty years ¿ continues to have an astonishing influence on modern style.

For decades, Grace Coddington’s personal touch has steered wildly imaginative fashion spreads in Vogue magazine. Then came The September Issue, the behind-the-scenes documentary that turned the spotlight on a woman with a no-nonsense attitude and an unerring visual instinct. Overnight, the flame-haired Grace became a heroine for fashion insiders and the general public alike. Witty and forthright, and illustrated throughout with vintage photographs and exclusive line-drawings, Grace: A Memoir shares the excitement and vision that go into producing so many unforgettable fashion images. Here are the designers, models, photographers, hairstylists, make-up artists and celebrities with whom Grace has created her ‘stories in pictures’ – whether it be Jerry Hall conquering the USSR or Tom Ford falling down a rabbit hole in Annie Leibovitz’s version of Alice in Wonderland. Grace’s own life has been as dreamlike as one of her madcap fashion spreads. Brought up in windswept wartime Anglesey, she arrived in London, aged eighteen, and quickly became a face of the Sixties. The muse behind Vidal Sassoon’s Five Point Cut, she posed for Bailey, Donovan, Duffy and Norman Parkinson in Swinging London and jumped into a pool in Saint-Tropez for Helmut Newton. Surviving a serious car-crash, she later became a fashion editor at British Vogue and during the Seventies and the Eighties started to create the fantasy travelogues that would become her trademark. Friendships bloomed – with Bruce Weber and Calvin Klein, whose offer of a job took Grace to New York. While two early marriages to restaurateur Michael Chow and photographer Willie Christie were brief, her romance with the hairstylist Didier Malige has endured. And her professional partnership with Anna Wintour – with whom she has collaborated for over twenty years – continues to have an astonishing influence on modern style.

A Memoir

Grace

How a Doll Remade the World

Barbieland

The digital age has birthed The Great Awokening. Grievances previously overlooked - mental illness, racism, gender identity, homophobia, the need for safe spaces - now occupy centre stage. The current cultural climate demands us to declare our standing quickly and emphatically - often without pause for understanding. Looking at how the concept of a spiritual awakening has evolved into present day 'wokeness' - and how it has in turn lead to further polarisation rather than unification - in THE AWOKENING, Ayishat Akanbi encourages an appeal to humanism. It is a timely and inspiring reminder of the power of curiosity and the benefits of intellectual humility, and an urge to partake in the gruelling task of developing self-awareness, such that we can become more socially aware - and aware of each other.

The digital age has birthed The Great Awokening. Grievances previously overlooked - mental illness, racism, gender identity, homophobia, the need for safe spaces - now occupy centre stage. The current cultural climate demands us to declare our standing quickly and emphatically - often without pause for understanding. Looking at how the concept of a spiritual awakening has evolved into present day 'wokeness' - and how it has in turn lead to further polarisation rather than unification - in THE AWOKENING, Ayishat Akanbi encourages an appeal to humanism. It is a timely and inspiring reminder of the power of curiosity and the benefits of intellectual humility, and an urge to partake in the gruelling task of developing self-awareness, such that we can become more socially aware - and aware of each other.

Clarity, Culture and Identity in the Web of Chaos

The Awokening

Motherhood, Identity, Love and F*ckery

Women and Psychology

Linda Burnett offers a genuinely new perspective on motherhood, arguing that most feminist scholarship is unduly reluctant to acknowledge the role of biological and material factors involved. The importance of embodiment and affect in recent critical work makes this a timely intervention into research on motherhood which will be of interest to a range of scholars and students.

Linda Burnett offers a genuinely new perspective on motherhood, arguing that most feminist scholarship is unduly reluctant to acknowledge the role of biological and material factors involved. The importance of embodiment and affect in recent critical work makes this a timely intervention into research on motherhood which will be of interest to a range of scholars and students.

Maternal Subjectivities and Embodied Experiences

The Neurology of Motherhood

Patipolitics looks at what it means to enjoy the body under technocapitalism arguing that we need a new paradigm to talk about sexual enjoyment and suffering. It is not just biological life (biopolitics), nor even political death (necropolitics) that has power, but also regimes of enjoyment. In simple terms the paradoxical, ambivalent and traumatic realm of the sexual: a deadly enjoyment that demands satisfaction yet cannot be sated. This is Patipolitics, from the Latin patior- to suffer, which for psychoanalysis is also to enjoy.

The body is governed by a dizzying array of institutions: the family, social media, religion and the culture industries. These sites provide contexts for enjoying the body such as: self-image, object choice, identification, erogenous zones, taboos, codes of sexual morality, inhibitions, violence, and bodily abjection. But it is the ways in which these modalities are harnessed by apparatuses of power which makes them patipolitical.

Patipolitics examines how the body is instrumentalised, weaponised and fantasized through science, technology and capitalism. After highlighting the destructive and oppressive elements of patipolitics, the book elucidates the positive and generative dimensions to the patipolitical. The female body and its place in the masculine imaginary obscures a genuine enigma about the sexual body and power. Ultimately if patipolitics is to be affirmative as opposed to destructive we must ask what alternative future it can help us to imagine?

Patipolitics looks at what it means to enjoy the body under technocapitalism arguing that we need a new paradigm to talk about sexual enjoyment and suffering. It is not just biological life (biopolitics), nor even political death (necropolitics) that has power, but also regimes of enjoyment. In simple terms the paradoxical, ambivalent and traumatic realm of the sexual: a deadly enjoyment that demands satisfaction yet cannot be sated. This is Patipolitics, from the Latin patior- to suffer, which for psychoanalysis is also to enjoy.

The body is governed by a dizzying array of institutions: the family, social media, religion and the culture industries. These sites provide contexts for enjoying the body such as: self-image, object choice, identification, erogenous zones, taboos, codes of sexual morality, inhibitions, violence, and bodily abjection. But it is the ways in which these modalities are harnessed by apparatuses of power which makes them patipolitical.

Patipolitics examines how the body is instrumentalised, weaponised and fantasized through science, technology and capitalism. After highlighting the destructive and oppressive elements of patipolitics, the book elucidates the positive and generative dimensions to the patipolitical. The female body and its place in the masculine imaginary obscures a genuine enigma about the sexual body and power. Ultimately if patipolitics is to be affirmative as opposed to destructive we must ask what alternative future it can help us to imagine?

Patipolitics

Drawing on theories of everyday life, Tara Thomson explores modernist fiction by women who were afforded new roles and opportunities in a world characterized by social and political change. At the same time the realities of women's everyday lives lagged behind the promises of modernity. Thomson reads the works of Dorothy Richardson, Virginia Woolf, Katherine Mansfield, and Elizabeth Bowen to explore the complex position of women with respect to everyday life throughout the interwar years. She focuses particularly on the unique narrative techniques these authors developed to reveal how everyday practices produce and are produced by ideology. Drawing on a substantial body of everyday theory, feminist theory, and the socio-historical contexts of modernism, Thomson's book asks what sustained attention to the everyday can tell us about the feminist aims of modernist fiction.

Faced with a rapidly changing world, modernist authors turned their attention to the mundane details of everyday life, seeking new discourses and techniques to articulate their experiences of modernity. Drawing on theories of everyday life, Tara Thomson explores modernist fiction by women who were afforded new roles and opportunities in a world characterized by social and political change. At the same time the realities of women's everyday lives lagged behind the promises of modernity. Thomson reads the works of Dorothy Richardson, Virginia Woolf, Katherine Mansfield, and Elizabeth Bowen to explore the complex position of women with respect to everyday life throughout the interwar years. She focuses particularly on the unique narrative techniques these authors developed to reveal how everyday practices produce and are produced by ideology. Drawing on a substantial body of everyday theory, feminist theory, and the socio-historical contexts of modernism, Thomson's book asks what sustained attention to the everyday can tell us about the feminist aims of modernist fiction.

Modernism, Feminism and Everyday Life

Patipolitics looks at what it means to enjoy the body under technocapitalism, arguing that we need a new paradigm to talk about sexual enjoyment and suffering. It is not just biological life (biopolitics), nor even political death (necropolitics) that has power, but also regimes of enjoyment. In simple terms the paradoxical, ambivalent and traumatic realm of the sexual: a deadly enjoyment that demands satisfaction yet cannot be sated. This is Patipolitics, from the Latin patior- to suffer, which for psychoanalysis is also to enjoy.

The body is governed by a dizzying array of institutions: the family, social media, religion and the culture industries. These sites provide contexts for enjoying the body such as: self-image, object choice, identification, erogenous zones, taboos, codes of sexual morality, inhibitions, violence, and bodily abjection. But it is the ways in which these modalities are harnessed by apparatuses of power which makes them patipolitical.

Patipolitics examines how the body is instrumentalised, weaponised and fantasized through science, technology and capitalism. After highlighting the destructive and oppressive elements of patipolitics, the book elucidates the positive and generative dimensions to the patipolitical. The female body and its place in the masculine imaginary obscures a genuine enigma about the sexual body and power. Ultimately if patipolitics is to be affirmative as opposed to destructive we must ask what alternative future it can help us to imagine?

Patipolitics looks at what it means to enjoy the body under technocapitalism, arguing that we need a new paradigm to talk about sexual enjoyment and suffering. It is not just biological life (biopolitics), nor even political death (necropolitics) that has power, but also regimes of enjoyment. In simple terms the paradoxical, ambivalent and traumatic realm of the sexual: a deadly enjoyment that demands satisfaction yet cannot be sated. This is Patipolitics, from the Latin patior- to suffer, which for psychoanalysis is also to enjoy.

The body is governed by a dizzying array of institutions: the family, social media, religion and the culture industries. These sites provide contexts for enjoying the body such as: self-image, object choice, identification, erogenous zones, taboos, codes of sexual morality, inhibitions, violence, and bodily abjection. But it is the ways in which these modalities are harnessed by apparatuses of power which makes them patipolitical.

Patipolitics examines how the body is instrumentalised, weaponised and fantasized through science, technology and capitalism. After highlighting the destructive and oppressive elements of patipolitics, the book elucidates the positive and generative dimensions to the patipolitical. The female body and its place in the masculine imaginary obscures a genuine enigma about the sexual body and power. Ultimately if patipolitics is to be affirmative as opposed to destructive we must ask what alternative future it can help us to imagine?

Vol. 15.4

Cultural Trends

Andrei Sinyavsky wrote In Gogol's Shadow while serving time in a Soviet labor camp. Opening with Gogol's funeral, this unorthodox biography strips the man away from the myth. Sinyavsky challenges the deeply held Russian and Soviet view—promoted by Gogol—that Gogol was first and foremost a political writer, whose biting satire was part of a quest for his country's salvation. In Gogol's Shadow reveals a writer more obsessed with language than with politics. Gogol's attempt to force his art neatly into the function of exposing social ills is undermined by his uncanny imagination and inventiveness. Over the course of his investigation, Sinyavsky's own style comes to recall the digressive, free-flowing prose of the author of Dead Souls and The Government Inspector. This irreverent and incisive analysis of Gogol's life and work is a path-breaking exploration of literary creativity in times of strict censorship and ideological control.

In Gogol's Shadow

Essays on Women

Reimagining traditional tales, this empowering collection of stories, poems and beautiful hand-drawn illustrations gives Once Upon a Time a much-needed modern makeover. Gone are the gender stereotypes of obliging lovers, violent men and girls that need rescuing. Instead, lines blur between heroes and villains and you'll meet brave princesses, a new kind of wolf lurking in the concrete jungle and a courageous Gretel who can bring down monsters on her own.

Beautifully illustrated feminist fairytales for young and old.

& Other Stories to Stir Your Soul

Fierce Fairytales

Females

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