by Amanda Montell ‧ RELEASE DATE: June 4, 2019
Just the kind of sharp, relevant scholarship needed to continue to inspire the next generation of feminist thought.
A fresh look at how gender impacts language, loaded with strategies to alter the way people think about communication.
In her debut, editor and linguist Montell sets a high bar, proving that linguistics plus feminism equals big fun. The infectious love of wordplay embedded in her work translates into a laugh-out-loud analysis and critique. Readers are invited to enter the realm of ever evolving speech habits and encouraged to consider their own thinking about language and power. With attention to global variations, the author substantively addresses the inherent ways communication patterns have misrepresented and sometimes failed women speakers of English throughout history. In addition to considering how feminism’s language makeover may improve accuracy, Montell offers hilarious insights on such topics as how to confuse catcallers (“and other ways to verbally smash the patriarchy”), techniques for shutting down obsessive grammar correctors, and how to craft insults, talk dirty, and swear (while feminist). The author addresses the game-changing inroads made by academic feminists and writers from the 1970s to the 1990s while also candidly documenting their shortcomings, and she sets the path and pace for reshaping language use with equity in mind. She explores how young women’s speech patterns often influence future directions and examines how some frequently criticized adaptations, like hedging and uptalk, serve distinct social purposes. Montell also analyzes how everything from women’s word choices to voices are policed and coached. She unpacks these biases while debunking related advice that describes itself as ‘empowering’ while encouraging girls and women to change. Grounded in decades of innovative feminist scholarship, full of witty personal stories, and written with the pragmatic aim of disrupting and changing the status quo, this is a humorous and important book for anyone interested in gender equality, wordplay, or fostering precise communication.
Just the kind of sharp, relevant scholarship needed to continue to inspire the next generation of feminist thought.Pub Date: June 4, 2019
ISBN: 978-0-06-286887-9
Page Count: 304
Publisher: Harper Wave
Review Posted Online: March 24, 2019
Kirkus Reviews Issue: April 15, 2019
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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
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by Maya Angelou ‧ RELEASE DATE: Feb. 1, 1969
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.
Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."
Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.Pub Date: Feb. 1, 1969
ISBN: 0375507892
Page Count: 235
Publisher: Random House
Review Posted Online: May 14, 2012
Kirkus Reviews Issue: Feb. 1, 1969
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by Maya Angelou and illustrated by Steve Johnson and Lou Fancher
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