Women are Scary


Book Description

Let's see . . . this is the part where I convince you that you need this book. This book will massage your feet. This book will bring you a fuzzy blanket at the end of a long day of parenting your tiny little insanazoids. I promise to make you snort laugh at least once. After reading this book, you'll rock jazz hands, be able to sing on-key, and never, ever have to fold laundry again. Okay, they told me I'm actually supposed to tell you a little about the book. Um, right. Look. Here's the thing. Too many of us women are frazzled and lonely, isolated in our minivans while schlepping bags, strollers, and munchkins to and fro across town. It doesn't have to be this way. In this guide to "momlationships," I use a dating analogy to take us "around the bases" to our home-run friendships, the ones that last a lifetime, not just a soccer season. This is our journey to each other, to finding our people and being other people's people, learning how to bless each other and not destroy each other. It's sometimes scary. And always awkward. Let's have some fun.




The Science of Women in Horror


Book Description

From scream queens to femmes fatale, horror isn’t just for the boys. Gothic media moguls Meg Hafdahl and Kelly Florence, authors of The Science of Monsters, and co-hosts of the Horror Rewind podcast called “the best horror film podcast out there” by Film Daddy, present a guide to the feminist horror movies, TV shows, and characters we all know and love. Through interviews, film analysis, and bone-chilling discoveries, The Science of Women in Horror uncovers the theories behind women’s most iconic roles of the genre. Explore age-old tropes such as “The Innocent” like Lydia in Beetlejuice, “The Gorgon” like Pamela Voorhees in Friday the 13th, and “The Mother” like Norma Bates in Pyscho and Bates Motel, and delve deeper into female-forward film and TV including: The Haunting of Hill House Teeth Chilling Adventures of Sabrina Buffy the Vampire Slayer And so much more! Join Kelly and Meg in The Science of Women in Horror as they flip the script and prove that every girl is a “final girl.”




Women Make Horror


Book Description

Winner of the the 2021 Best Edited Collection Award from BAFTSS Winner of the 2021 British Fantasy Award in Best Non-Fiction​ ​Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards​ “But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.” “Women are just not that interested in making horror films.” This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, critical, and industrial thinking about the genre. Women Make Horror sets right these misconceptions. Women have always made horror. They have always been an audience for the genre, and today, as this book reveals, women academics, critics, and filmmakers alike remain committed to a film genre that offers almost unlimited opportunities for exploring and deconstructing social and cultural constructions of gender, femininity, sexuality, and the body. Women Make Horror explores narrative and experimental cinema; short, anthology, and feature filmmaking; and offers case studies of North American, Latin American, European, East Asian, and Australian filmmakers, films, and festivals. With this book we can transform how we think about women filmmakers and genre.




Black Magic Women


Book Description

"From 18 of the women profiled in 100 Black Women in Horror come 18 soul-scorching tales of terror that place black characters up front and center."--Page [4] of cover.




Confessions of a Scary Mommy


Book Description

Sometimes I just let my children fall asleep in front of the TV. In a culture that idealizes motherhood, it’s scary to confess that, in your house, being a mother is beautiful and dirty and joyful and frustrating all at once. Admitting that it’s not easy doesn’t make you a bad mom; at least, it shouldn’t. If I can’t survive my daughter as a toddler, how the hell am I going to get through the teenage years? When Jill Smokler was first home with her small children, she thought her blog would be something to keep friends and family updated. To her surprise, she hit a chord in the hearts of mothers everywhere. I end up doing my son’s homework. It’s wrong, but so much easier. Total strangers were contributing their views on that strange reality called motherhood. As other women shared their stories, Jill realized she wasn’t alone in her feelings of exhaustion and imperfection. My eighteen month old still can’t say “Mommy” but used the word “shit” in perfect context. But she sensed her readers were still holding back, so decided to start an anonymous confessional, a place where real moms could leave their most honest thoughts without fearing condemnation. I pretend to be happy but I cry every night in the shower. The reactions were amazing: some sad, some pee-in-your-pants funny, some brutally honest. But they were real, not a commercial glamorization. I clock out of motherhood at 8 P.M. and hide in the basement with my laptop and a beer. If you’re already a fan, lock the bathroom door on your whining kids, run a bubble bath, and settle in. If you’ve not encountered Scary Mommy before, break out a glass of champagne as well, because you’ll be toasting your initiation into a select club. I know why some animals eat their young. In chapters that cover husbands (The Biggest Baby of Them All) to homework (Didn’t I Already Graduate?), Confessions of a Scary Mommy combines all-new essays from Jill with the best of the anonymous confessions. Sometimes I wish my son was still little—then I hear kids screaming at the store. As Jill says, “We like to paint motherhood as picture perfect. A newborn peacefully resting on his mother’s chest. A toddler taking tentative first steps into his mother’s loving arms. A mother fluffing her daughter’s prom dress. These moments are indeed miraculous and joyful; they can also be few and far between.” Of course you adore your kids. Of course you would lay down your life for them. But be honest now: Have you ever wondered what possessed you to sign up for the job of motherhood? STOP! DO NOT OPEN THIS BOOK UNTIL YOU RECITE THESE VOWS! I shall remember that no mother is perfect and my children will thrive because, and sometimes even in spite, of me. I shall not preach to a fellow mother who has not asked my opinion. It’s none of my damn business. I shall maintain a sense of humor about all things motherhood.




Women, Monstrosity and Horror Film


Book Description

Women occupy a privileged place in horror film. Horror is a space of entertainment and excitement, of terror and dread, and one that relishes the complexities that arise when boundaries – of taste, of bodies, of reason – are blurred and dismantled. It is also a site of expression and exploration that leverages the narrative and aesthetic horrors of the reproductive, the maternal and the sexual to expose the underpinnings of the social, political and philosophical othering of women. This book offers an in-depth analysis of women in horror films through an exploration of ‘gynaehorror’: films concerned with all aspects of female reproductive horror, from reproductive and sexual organs, to virginity, pregnancy, birth, motherhood and finally to menopause. Some of the themes explored include: the intersection of horror, monstrosity and sexual difference; the relationships between normative female (hetero)sexuality and the twin figures of the chaste virgin and the voracious vagina dentata; embodiment and subjectivity in horror films about pregnancy and abortion; reproductive technologies, monstrosity and ‘mad science’; the discursive construction and interrogation of monstrous motherhood; and the relationships between menopause, menstruation, hagsploitation and ‘abject barren’ bodies in horror. The book not only offers a feminist interrogation of gynaehorror, but also a counter-reading of the gynaehorrific, that both accounts for and opens up new spaces of productive, radical and subversive monstrosity within a mode of representation and expression that has often been accused of being misogynistic. It therefore makes a unique contribution to the study of women in horror film specifically, while also providing new insights in the broader area of popular culture, gender and film philosophy.




Facing 30


Book Description

For women meeting the Big Three-Oh, Lauren Dockett and Kristin Beck await them with a humorous, practical book that pinpoints the big issues with words of solace, support and guidance to ease the pain, smooth the transition and open the door to new possibilities.




Misogyny


Book Description

"Yes, women are the greatest evil Zeus has made, and men are bound to them hand and foot with impossible knots by God."—Semonides, seventh century B.C. Men put women on a pedestal to worship them from afar—and to take better aim at them for the purpose of derision. Why is this paradoxical response to women so widespread, so far-reaching, so all-pervasive? Misogyny, David D. Gilmore suggests, is best described as a male malady, as it has always been a characteristic shared by human societies throughout the world. Misogyny: The Male Malady is a comprehensive historical and anthropological survey of woman-hating that casts new light on this age-old bias. The turmoil of masculinity and the ugliness of misogyny have been well documented in different cultures, but Gilmore's synoptic approach identifies misogyny in a variety of human experiences outside of sex and marriage and makes a fresh and enlightening contribution toward understanding this phenomenon. Gilmore maintains that misogyny is so widespread and so pervasive among men that it must be at least partly psychogenic in origin, a result of identical experiences in the male developmental cycle, rather than caused by the environment alone. Presenting a wealth of compelling examples—from the jungles of New Guinea to the boardrooms of corporate America—Gilmore shows that misogynistic practices occur in hauntingly identical forms. He asserts that these deep and abiding male anxieties stem from unresolved conflicts between men's intense need for and dependence upon women and their equally intense fear of that dependence. However, misogyny, according to Gilmore, is also often supported and intensified by certain cultural realities, such as patrilineal social organization; kinship ideologies that favor fraternal solidarity over conjugal unity; chronic warfare, feuding, or other forms of intergroup violence; and religious orthodoxy or asceticism. Gilmore is in the end able to offer steps toward the discovery of antidotes to this irrational but global prejudice, providing an opportunity for a lasting cure to misogyny and its manifestations.




In a Dark, Dark Room and Other Scary Stories


Book Description

Creak... Crash... BOO! Shivering skeletons, ghostly pirates, chattering corpses, and haunted graveyards...all to chill your bones! Share these seven spine-tingling stories in a dark, dark room.




Do It Like a Woman


Book Description

Doing anything 'like a woman' used to be an insult. Now, as the women in this book show, it means being brave, speaking out, and taking risks, changing the world one step at a time. Here, campaigner and journalist Caroline Criado-Perez introduces us to a host of pioneers, including a female fighter pilot in Afghanistan; a Chilean revolutionary; the Russian punks who rocked against Putin; and the Iranian journalist who uncovered her hair.




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