New Releases by Germaine Greer

It''s time to rethink rape. Centuries of different approaches to rape - as inflicted by men on women - have got us nowhere. Rape statistics remain intractable: one woman in five will experience sexual violence. Very few rapes find their way into court. The crucial issue is consent, thought by some to be easy to establish and by others impossible. Sexual assault does not diminish; relations between the sexes do not improve; litigation balloons. In ON RAPE Germaine Greer argues there has to be a better way.

ON RAGE is Germaine Greer''s timeless essay about Aboriginal dispossession. With characteristic acuity and passion, Greer looks to the causes of rage and its consequences in Indigenous Australians. Originally published six months after Prime Minister Kevin Rudd''s Apology to the Stolen Generations in 2008, this is an urgent and provocative examination of disempowerment by one of Australia''s leading polemicists.

Un best seller internacional y un referente irremisible de la historia del feminismo. Cuando se publicó por primera vez en 1970, La mujer eunuco supuso un punto de inflexión en la defensa de los derechos de la mujer. La tesis sobre la que se sustenta el libro es que la familia nuclear, consumista y urbana reprime a la mujer sexualmente y esta acaba pordesvitalizarse y convertirse en eunuco. Por esta razón, advierte Greer, la auténtica liberación pasa por una liberación sexual. Casi cinco décadas más tarde, este libro se ha convertido en un importante documento histórico y pone en relevancia todo el trabajo que queda por hacer. La crítica ha dicho... «Un libro con personalidad, un libro que conoce la distinción entre el yo y el otro, un libro que combina lo mejor de la masculinidad y la feminidad.» New York Times

For years I had wandered Australia with an aching heart. Everywhere I had ever travelled across the vast expanse of the fabulous country where I was born I had seen devastation, denuded hills, eroded slopes, weeds from all over the world, feral animals, open-cut mines as big as cities, salt rivers, salt earth, abandoned townships, whole beaches made of beer cans... One bright day in December 2001, sixty-two-year-old Germaine Greer found herself confronted by an irresistible challenge in the shape of sixty hectares of dairy farm, one of many in south-east Queensland that, after a century of logging, clearing and downright devastation, had been abandoned to their fate. She didn''t think for a minute that by restoring the land she was saving the world. She was in search of heart''s ease. Beyond the acres of exotic pasture grass and soft weed and the impenetrable curtains of tangled Lantana canes there were Macadamias dangling their strings of unripe nuts, and Black Beans with red and yellow pea flowers growing on their branches ... and the few remaining White Beeches, stupendous trees up to forty metres in height, logged out within forty years of the arrival of the first white settlers. To have turned down even a faint chance of bringing them back to their old haunts would have been to succumb to despair. Once the process of rehabilitation had begun, the chance proved to be a dead certainty. When the first replanting shot up to make a forest and rare caterpillars turned up to feed on the leaves of the new young trees, she knew beyond doubt that at least here biodepletion could be reversed. Greer describes herself as an old dog who succeeded in learning a load of new tricks, inspired and rejuvenated by her passionate love of Australia and of Earth, most exuberant of small planets.

“Ferocious psychic need and volcanic energy drive this combined memoir, detective story and travelogue” from the author of The Female Eunuch (The New Yorker). After her father died, influential feminist writer and public intellectual Germaine Greer realizes how little she knows about him. She decides to track the life of her father, an Australian intelligence officer during World War II, to uncover the roots of his secrecy and distance. As she painstakingly assembles the jigsaw pieces of the past, Greer discovers surprising secrets about her father, her family, and herself. During her three-year quest, Greer travels from England to Australia, Tasmania, India, and Malta; searches through scores of genealogical, civil, and military archives; and delves into the memories of the men and women who may—or may not—have known Reg Greer. Yet the heart of her “lyrical but brutal elegy” is her own emotional journey, as the startling facts behind her father’s façade force her to painfully examine her own notions of truth and loyalty, family and obligation (Kirkus Reviews, starred review). “Anyone who has done this kind of search will identify with Ms. Greer’s frustration, admire her persistence, laugh at her accuracy and rejoice in her discoveries.” —The New York Times Book Review “The deeply affecting climax is a remarkable feat of family reconstruction.” —Publishers Weekly

Thirty years after the publication of The Female Eunuch, Germaine Greer is back with the sequel she vowed never to write. "A marvelous performance--. No feminist writer can match her for eloquence or energy; none makes [us] laugh the way she does."--The Washington Post In this thoroughly engaging new book, the fervent, rollicking, straight-shooting Greer, is, as ever, "the ultimate agent provocateur" (Mirabella). With passionate rhetoric, outrageous humor, and the authority of a lifetime of thought and observation, she trains a sharp eye on the issues women face at the turn of the century. From the workplace to the kitchen, from the supermarket to the bedroom, Greer exposes the innumerable forms of insidious discrimination and exploitation that continue to plague women around the globe. She mordantly attacks "lifestyle feminists" who blithely believe they can have it all, and argues for a fuller, more organic idea of womanhood. Whether it''s liposuction or abortion, Barbie or Lady Diana, housework or sex work, Greer always has an opinion, and as one of the most brilliant, glamorous, and dynamic feminists of all time, her opinions matter. For anyone interested in the future of womanhood, The Whole Woman is a must-read.

A New York Times Book Review Notable Book of the Year A polemical, ground-breaking study of Elizabethan England that reclaims Ann Hathaway’s rightful place in history. Little is known about the wife of the world’s most famous playwright; a great deal, none of it complimentary, has been assumed. The omission of her name from Shakespeare’s will has been interpreted as evidence that she was nothing more than an unfortunate mistake from which Shakespeare did well to distance himself. Yet Shakespeare is above all the poet of marriage. Before him, there were few comedies or tragedies about wooing or wedding. And yet he explored the sacrament in all its aspects, spiritual, psychological, sexual, sociological, and was the creator of some of the most tenacious and intelligent heroines in English literature. Is it possible, therefore, that Ann, who has been mocked and vilified by scholars for centuries, was the inspiration? Until now, there has been no serious critical scholarship devoted to the life and career of the farmer’s daughter who married England’s greatest poet. Part biography, part history, Shakespeare’s Wife is a fascinating reconstruction of Ann’s life, and an illuminating look at the daily lives of Elizabethan women, from their working routines to the rituals of courtship and the minutiae of married life. In this thoroughly researched and controversial book, Greer steps off the well-trodden paths of orthodoxy, asks new questions, and begins to right the wrongs done to Ann Shakespeare.

The publication of Germaine Greer''s The Female Eunuch in 1970 was a landmark event, raising eyebrows and ire while creating a shock wave of recognition in women around the world with its steadfast assertion that sexual liberation is the key to women''s liberation. Today, Greer''s searing examination of the oppression of women in contemporary society is both an important historical record of where we''ve been and a shockingly relevant treatise on what still remains to be achieved.

Literair-historisch onderzoek naar het leven van Anne Hathaway, de echtgenote van William Shakespeare.

This publication documents the exhibition Stella Vine: Paintings, the first major solo show in the UK by the enfant terrible of British art. Stella Vine''s paintings are exuberant, funny and irreverent. She is notorious for her portraits of Kate Moss and disturbing images of Princess Diana and the heroin victim Rachel Whitear, but she also paints her mother and her son from photographs and memory. Born in 1969 in Northumberland, Stella Vine studied painting part-time at Hampstead School of Art in 1999. Her work has been included in solo and group exhibitions in the UK and internationally, notably New Blood at the Saatchi Gallery in 2004 when she first came to public attention. Stella Vine currently lives and works in London. This fully illustrated publication accompanies the exhibition Stella Vine: Paintings held at Modern Art Oxford, July - September 2007.

A guidebook to this multi-faceted artist and her allusive work.

Verhandeling over de schoonheid van (zeer) jonge mannen aan de hand van 250 afbeeldingen uit de kunstgeschiedenis.

Conventional wisdom has it that in visual culture the female body, not the male, is viewed as the primary object of desire. Germaine Greer argues that until the nineteenth century the image of the female body was not drawn from life but constructed on aesthetic principles. The naked body that was instead studied and portrayed with heart-stopping immediacy in hundreds of guises, most of them to some extent erotic, some of them sadistic, is that of the boy. In exploring the iconic ideal of the beautiful boy, Germaine Greer demolishes one of the last Western taboos. With over two hundred images drawn from the whole history of Western art, illustrating the vicissitudes of the beautiful male - as toy boy, virgin soldier, naked martyr or winged genius, angel or seducer, narcissist or worshipper - they are invited to appreciate boys in all their sensuality, spontaneity and vulnerability.

In the thirdQuarterly Essayof 2003, Germaine Greer suggests that embracing Aboriginality is the only way Australia can fully imagine itself as a nation. In a wide-ranging essay she looks at the interdependence of black and white and suggests not how the Aborigine question may be settled but how a sense of being Aboriginal might save the soul of Australia. In a sweeping and magisterial essay, touching on everything from Henry Lawson to multiculturalism, Germaine Greer argues that Australia must enter the Aboriginal web of dreams. '' Whitefella Jump Upis an essay about sitting down and thinking where all the politics start and what kind of legend Australia wants to place at its heart.'' - Peter Craven ''I''m not here offering yet a solution to the Aborigine problem ... Blackfellas are not and never were the problem. They were the solution, if only whitefellas had been able to see it.'' - Germaine Greer, Whitefella Jump Up

Dans la culture visuelle, tradition et convention veulent que le corps féminin, et non le corps masculin, sait vu comme l''objet premier du désir. La thèse innovante de Germaine Greer démontre que la charge érotique véhiculée par l''image de l''adolescent, à toutes les périodes de l''histoire de l''art, fut rigoureusement réprimée par les hommes et les femmes confondus. Un double interdit a rendu aveugle l''un et l''autre sexe à la beauté éphémère du jeune homme, surtout depuis l''élévation du nu féminin comme sujet omniprésent de l''artiste, puis du photographe. Avec plus de deux cents images puisées dans toute l''histoire de l''art occidental, cet ouvrage restitue les vicissitudes du bel adolescent - garçon jouet, soldat vierge, martyr nu ou génie ailé, ange ou séducteur, narcissique, insolent ou pieux - et nous invite à redécouvrir les garçons dans toute leur sensualité, leur spontanéité, leur vulnérabilité. En explorant l''icône du bel adolescent, que ce soit une sculpture de Michel-Ange ou de Canova, une peinture du Caravage ou de Van Dyck, une photographie de Nan Goldin ou de Sally Mann, Germaine Greer démolit l''un des derniers tabous occidentaux.