You're on the prowl but unsure of what to talk about with a girl that'll get her attracted to you. We've got your back with a few dos and don'ts.
Transform your everyday journaling experience with our exquisite matte hardcover journal. Crafted to infuse warmth and intimacy into your writing routine, this journal is not just a notebook but a trusted confidant where your thoughts come to life. Measuring 5.75"x8" (A5) and boasting 150 lined pages, it offers ample space for your musings, reflections, and dreams to flourish. But what truly sets this journal apart is its unique design, meticulously crafted by our team at TwinBellsStudio. Each page is a canvas waiting for your words to dance across it, while the sturdy hardcover ensures your thoughts stay safe and protected. The matte laminate coating adds a touch of elegance, seamlessly blending with your personal style. As you hold it in your hands, you'll feel a sense of connection, as if this journal understands you like no other. Whether you're jotting down your daily adventures, pouring out your deepest emotions, or sketching your next masterpiece, this journal is your faithful companion. With its full wraparound print and casewrap binding, it exudes durability and charm in equal measure. Embrace the joy of self-expression with our matte hardcover journal, where every page holds the promise of discovery and inspiration. Welcome to a world where your thoughts are cherished, your dreams are nurtured, and your creativity knows no bounds.
Are you committing some huge flirting mistakes that turn women off the minute you approach? Here are some things you can do to fix them!
About Carry NEW YORK TIMES EDITORS’ CHOICE • A powerful, poetic memoir about what it means to exist as an Indigenous woman in America, told in snapshots of the author’s encounters with gun violence. Finalist for the Dayton Literary Peace Prize • Goop Book Club Pick • “Essential . . . We need more voices like Toni Jensen’s, more books like Carry .”—Tommy Orange, New York Times bestselling author of There There Toni Jensen grew up around guns: As a girl, she learned to shoot birds in rural Iowa with her father, a card-carrying member of the NRA. As an adult, she’s had guns waved in her face near Standing Rock, and felt their silent threat on the concealed-carry campus where she teaches. And she has always known that in this she is not alone. As a Métis woman, she is no stranger to the violence enacted on the bodies of Indigenous women, on Indigenous land, and the ways it is hidden, ignored, forgotten. In Carry, Jensen maps her personal experience onto the historical, exploring how history is lived in the body and redefining the language we use to speak about violence in America. In the title chapter, Jensen connects the trauma of school shootings with her own experiences of racism and sexual assault on college campuses. “The Worry Line” explores the gun and gang violence in her neighborhood the year her daughter was born. “At the Workshop” focuses on her graduate school years, during which a workshop classmate repeatedly killed off thinly veiled versions of her in his stories. In “Women in the Fracklands,” Jensen takes the reader inside Standing Rock during the Dakota Access Pipeline protests and bears witness to the peril faced by women in regions overcome by the fracking boom. In prose at once forensic and deeply emotional, Toni Jensen shows herself to be a brave new voice and a fearless witness to her own difficult history—as well as to the violent cultural landscape in which she finds her coordinates. With each chapter, Carry reminds us that surviving in one’s country is not the same as surviving one’s country.
An interview with Karen Grassle, author of BRIGHT LIGHTS, PRAIRIE DUST.
The authors of Run Like a Mother share a comprehensive guide to race training for busy runners of all experience levels. In Train Like a Mother, elite runners Dimitry McDowell and Sarah Bowen Shea offer inspiration and practical advice on how to run a race—from training plan to finish line. Covering four race distances (5K, 10K, half-marathon, and marathon), they discuss pre- and post-race nutrition; strength training; injury prevention (and rehab); the importance of recovery; and everything busy women need to know to add racing to their multitasking schedules. It is all presented with the same wit, empathy, and tone the avid fans connect and identify with.
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Although the worlds of science and philosophy took giant strides away from the medieval view of the world, attitudes to women did not change from those that had pertained for centuries. Girls were largely barred from education - only around 14% of women could read and write by 1700 - and the few educated women were not permitted to enter the professions. The social turbulence of the first half of the seventeenth century afforded women new opportunities and new religious freedoms and women were attracted into the many new sects where they were afforded a voice in preaching and teaching. This reaction often found expression in the violent and brutal treatment of women who were seen to have stepped out of line, whether legally, socially or domestically. Often beaten and abused at home by husbands exercising their legal right, they were whipped, branded, exiled and burnt alive by the courts, from which their sex had no recourse to protection, justice or restitution. This work records the many kinds of violent physical and verbal abuse perpetrated against women in Britain and her colonies, both domestically and under the law, during two centuries when huge strides in human knowledge and civilisation were being made in every other sphere of human activity. 32 black and white illustrations
About Nightbitch In this blazingly smart and voracious debut novel, an artist turned stay-at-home mom becomes convinced she’s turning into a dog. • “A must-read for anyone who can’t get enough of the ever-blurring line between the psychological and supernatural that Yellowjackets exemplifies.” — Vulture One day, the mother was a mother, but then one night, she was quite suddenly something else… An ambitious mother puts her art career on hold to stay at home with her newborn son, but the experience does not match her imagination. Two years later, she steps into the bathroom for a break from her toddler’s demands, only to discover a dense patch of hair on the back of her neck. In the mirror, her canines suddenly look sharper than she remembers. Her husband, who travels for work five days a week, casually dismisses her fears from faraway hotel rooms. As the mother’s symptoms intensify, and her temptation to give in to her new dog impulses peak, she struggles to keep her alter-canine-identity secret. Seeking a cure at the library, she discovers the mysterious academic tome which becomes her bible, A Field Guide to Magical Women: A Mythical Ethnography , and meets a group of mommies involved in a multilevel-marketing scheme who may also be more than what they seem. An outrageously original novel of ideas about art, power, and womanhood wrapped in a satirical fairy tale, Nightbitch will make you want to howl in laughter and recognition. And you should. You should howl as much as you want.
A magical bloodline. A family curse. Can Connie break the spell before it shatters her future? A bewitching novel of a New England history professor who must race against time to free her family from a curse, by Katherine Howe, New York Times bestselling author of The Physick Book of Deliverance Dane. Connie Goodwin is an expert on America’s fractured past with witchcraft. A young, tenure-track professor in Boston, she’s earned career success by studying the history of magic in colonial America—especially women’s home recipes and medicines—and by exposing society's threats against women fluent in those skills. But beyond her studies, Connie harbors a secret: She is the direct descendant of a woman tried as a witch in Salem, an ancestor whose abilities were far more magical than the historical record shows. When a hint from her mother and clues from her research lead Connie to the shocking realization that her partner’s life is in danger, she must race to solve the mystery behind a hundreds’-years-long deadly curse. Flashing back through American history to the lives of certain supernaturally gifted women, The Daughters of Temperance Hobbs affectingly reveals not only the special bond that unites one particular matriarchal line, but also explores the many challenges to women’s survival across the decades—and the risks some women are forced to take to protect what they love most.
The riveting, untold history of a group of heroic women reporters who revolutionized the narrative of World War II--from Martha Gellhorn, who out-scooped her husband, Ernest Hemingway, to Lee Miller, a Vogue cover model turned war correspondent. "Thrilling from the first page to the last." --Mary Gabriel, author of Ninth Street Women "Just as women are so often written out of war, so it seems are the female correspondents. Mackrell corrects this omission admirably with stories of six of the best...Mackrell has done us all a great service by assembling their own fascinating stories." --New York Times Book Review On the front lines of the Second World War, a contingent of female journalists were bravely waging their own battle. Barred from combat zones and faced with entrenched prejudice and bureaucratic restrictions, these women were forced to fight for the right to work on equal terms with men. The Correspondents follows six remarkable women as their lives and careers intertwined: Martha Gellhorn, who got the scoop on Ernest Hemingway on D-Day by traveling to Normandy as a stowaway on a Red Cross ship; Lee Miller, who went from being a Vogue cover model to the magazine's official war correspondent; Sigrid Schultz, who hid her Jewish identity and risked her life by reporting on the Nazi regime; Virginia Cowles, a "society girl columnist" turned combat reporter; Clare Hollingworth, the first English journalist to break the news of World War II; and Helen Kirkpatrick, the first woman to report from an Allied war zone with equal privileges to men. From chasing down sources and narrowly dodging gunfire to conducting tumultuous love affairs and socializing with luminaries like Eleanor Roosevelt, Picasso, and Man Ray, these six women are captured in all their complexity. With her gripping, intimate, and nuanced portrait, Judith Mackrell celebrates these courageous reporters who risked their lives for the scoop. Product DetailsISBN-13: 9780593471159 Media Type: Paperback Publisher: Knopf Doubleday Publishing Group Publication Date: 02-28-2023 Pages: 480 Product Dimensions: 5.10(w) x 7.90(h) x 1.00(d)About the Author JUDITH MACKRELL is the critically acclaimed author of The Unfinished Palazzo and Flappers. She is also a celebrated dance critic, and her biography of the ballerina Lydia Lopokova, Bloomsbury Ballerina, was short-listed for the Costa Biography Award. She also coauthored The Oxford Dictionary of Dance.Read an Excerpt Read an Excerpt Chapter One Berlin, 1936 “I want to give readers all the dope there is” Sigrid Schultz In the autumn of 1936, Sigrid Schultz was starting to feel like a stranger in her own city. Less than a decade ago, the Berlin she’d known and loved had been crackling with wit, colour, deviance and dissent. Painted boys with nipped-in waists had sauntered through the stylish crowds along Kurfürstendamm; girls in suits and monocles had drunk cocktails at the Eldorado ballroom. Satire—the city’s native genius—had flourished in cabarets and bars, and, as a very dazzled young William Shirer had noted, Weimar Berlin had felt like “a wild open city full of crazy poets and homosexuals,” a place for adventure and self-reinvention.2 It had been a city of violence, too—scarred by Germany’s recent defeat in the 1914–18 war, rocked by political battles within the newly democratic Reichstag and growling with a savage underbelly of poverty, drugs and prostitution. Yet, to an ambitious young journalist like Sigrid, it was the darkness in the glitter of Berlin that made it the most engrossing city in the world in which to make her career. Then, in 1933, Hitler and the National Socialists had seized power, and the Nazification of Berlin began. The brown-shirted muscle of the Sturmabteilung (SA) and the black-uniformed elite of the Schutzstaffel (SS) had bullied most of the satirists into silence and forced the radical artists to skip town. Formerly emancipated women had been told to wipe off their lipstick and produce babies for the Fatherland, while the children were dragooned into the Hitler Youth or the League of German Girls. As fledgling Nazis paraded through Berlin in their crisp little shirts and neckerchiefs, it seemed to Sigrid as though the city itself was in uniform. Scarlet and black swastikas rippled from every public building and the streets were loud with Party messages, broadcast daily over public loudspeakers. The harsh metallic tones of Adolf Hitler and the hectoring bark of his Propaganda Minister Joseph Goebbels had become almost as familiar to Berliners as the voices of their family and friends. And, to all those who’d become principal targets of the regime—the trade unionists, the communists, the homosexuals and, above all, the city’s Jews—these voices were also a daily reminder of the threats they faced, whether of violence or arrest. As bureau chief of the Chicago Tribune, Sigrid had made it her mission to keep America informed about Germany’s decline into totalitarianism, to expose every stage of its draconian dismantling of democracy and the rule of law. According to Gregor Ziemer, her former assistant and fellow journalist, she was “one of the most talented foreign correspondents” of her generation, publishing more damning information about the Nazis than any of her colleagues, facing off Gestapo spies and interrogation until she was finally forced to leave.3 Hitler’s Berlin had been her personal war zone, and if it had made her as expert as any combat journalist in arming herself against danger, it had also forced her to keep very close the fact that, by Nazi reckoning, she was a Jew. Sigrid Lilian Schultz had settled in Berlin late in 1913. She’d been a pretty, intellectually pugnacious twenty-one-year-old, with a command of several foreign languages and a headful of ambitions to sing in opera or practise law. She also considered herself a cosmopolitan, for, despite her Germanic-sounding name, her father had been born in Norway and she herself had been born in Chicago, where Herman Schultz, a society portrait painter, had moved in 1891 to advance his career. His plan had been to put down “deep roots in prairie soil” to create his version of the American dream, and, after his eighteen-year-old wife, Hedwig, had given birth to Sigrid, on 5 January 1893, he’d settled his family in a spacious house in the suburb of Summerdale, with a garden overlooking miles of open ground.4 Sigrid was a tiny blonde scrap of a child for whom Herman had high ambitions. She was to be raised in the modern American way, encouraged to run freely around the countryside with the family’s huge St. Bernard dog. But she was also to be raised as a European, to speak German and French as well as English, and, until she was eight, she lived in the centre of a charmed little world, petted by her parents, admired by the busy stream of friends who came to the house. Then, in 1901, that world broke apart as a sharp downturn in the Chicago economy coincided with a temporary decline in Herman’s own health, and the Schultz family felt they had to pack up their home and return to Europe, where a commission awaited Herman in the royal court of Stuttgart. The two years Sigrid spent in Germany were, for her, a period of angry exile. While her father was painting in Stuttgart, she and her mother were sent to Hedwig’s family in Wiesbaden, where, for the first time in her life, Sigrid encountered disapproval. Her Jaskewitz relatives might have descended from a vivid ancestral mix of Spanish, Polish, Balkan, Russian, Central European and Jewish stock, but they’d adopted the mindset of snobbish, provincial Germans. They’d never cared for Herman and they greatly disliked the “fresh” American ways which he’d allowed his daughter to develop. Sigrid was thus sent away to Munich, “to a school for little princesses,” and, missing her parents, mocked for her “Yankee” accent, she turned from petted child to aggressive little waif.5 Years later, she recalled that she’d never hated that school more deeply than when news filtered through of her father’s favoured position at court, and “suddenly the teacher became so nice and all the little girls wanted to carry my books home.”6 But, once Herman had fulfilled his commission, he was able to move his family to Paris, and there Sigrid flourished. She attended an excellent lycée, she had teachers to develop the sweetly melodious voice that she’d inherited from her great-grandfather Joseph Jaskewitz, a former director of the Wiesbaden Opera, and she finally got to meet her father’s Norwegian family. They were ebullient, “crazy”—and she adored them, just as she adored Herman himself. But the most charmed hours of her life were the weekly lunches with her father, when he introduced her to Parisian restaurants, taught her about good food and wine, and recounted the stories of when he’d been a nineteen-year-old dreamer and had bicycled all the way from Norway to Paris to become an artist. To Sigrid, Herman seemed marvellous; he was funny, flamboyant, gallant, and he could light up a room with his anecdotes. “He never lost the faith that life was thrilling,” she wrote, “and always knew how to make others share his joy.” It was only as she reached puberty that she realized how promiscuously Herman was spreading that joy; and while she would loyally excuse his philandering—“Poor man, he couldn’t help it the way women were running after him”7—she could see the pain it caused her mother. Later, she would admit how badly she was affected by these dark sexual ructions—“I was really scared of marriage”—and in her troubled, confused state, the teenage Sigrid was also starting to worry about her parents’ finances.8 Herman’s career had remained volatile, boomeranging between celebrity and penury, and it had become apparent to Sigrid that neither of her parents had any talent for managing money. Hedwig, girlishly pretty and guileless, had never mastered the art of the household budget, while Herman, a man a