With a new foreword by Moira Donegan, this long-awaited reissue of Dworkin's iconic study of women in American conservatism is paired with a bold, modern package to match Dworkin's visionary perspective and style.

Andrea Dworkin wrote Right-Wing Women in 1983--a crucial and deeply illuminating analysis of the right's position on abortion, homosexuality, antisemitism, female poverty, and antifeminism. Forty years later, the book feels more vibrant, clear-eyed, and visionary than ever, especially as these issues get relitigated in both legal and public forums. In addition to her revelatory and nuanced portraits of figures like Anita Bryant and Phyllis Schlafly, and an examination of the roots of a distinctly woman-led brand of American conservatism, Right-Wing Women will give readers the thrill of rediscovering the force and elegance of Dworkin's arguments and her skill as one of our most adept and prophetic feminist thinkers.

Reissued with a bold, modern package, Andrea Dworkin's debut book Woman Hating argues that a deep-rooted hatred of women in history, art, politics, and beyond has reigned--and influenced and formed culture--for centuries.

A classic work in the canon of radical feminist thinking, Andrea Dworkin's 1974 debut Woman Hating is a stunning exploration of how women, and the idea of women, have been treated through the centuries. From fairy tales to erotic novels to medieval witch burnings, Dworkin uncovers the ways in which a rhetoric of hate and violence against women has been historically normalized, leading to a history of degradation, mutilation, and even killing.

Selections from the work of radical feminist author Andrea Dworkin, famous for her antipornography stance and role in the feminist sex wars of the 1980s.

Radical feminist author Andrea Dworkin was a caricature of misandrist extremism in the popular imagination and a polarizing figure within the women's movement, infamous for her antipornography stance and her role in the feminist sex wars of the 1980s. She still looms large in feminist demands for sexual freedom, evoked as a censorial demagogue, more than a decade after her death. Among the very first writers to use her own experiences of rape and battery in a revolutionary analysis of male supremacy, Dworkin was a philosopher outside and against the academy who wrote with a singular, apocalyptic urgency.

Last Days at Hot Slit brings together selections from Dworkin's work, both fiction and nonfiction, with the aim of putting the contentious positions she's best known for in dialogue with her literary oeuvre. The collection charts her path from the militant primer Woman Hating (1974), to the formally complex polemics of Pornography (1979) and Intercourse (1987) and the raw experimentalism of her final novel Mercy (1990). It also includes Goodbye to All This (1983), a scathing chapter from an unpublished manuscript that calls out her feminist adversaries, and My Suicide (1999), a despairing long-form essay found on her hard drive after her death in 2005.

Always innovative, often controversial, and frequently polarizing, Andrea Dworkin has carved out a unique position as one of the women's movement's most influential figures, from the early days of consciousness-raising to the post-feminist present. A tireless defender of women's rights, especially the rights of those who have been raped and assaulted, and a relentless critic of pornography, Dworkin is one of feminism's most rigorous minds and fiercest crusaders. Now, in Heartbreak, Dworkin reveals for the first time the personal side of her lifelong journey as activist and writer. By turns wry, spirited, and poignant, Dworkin tells the story of how she evolved from a childhood lover of music and books into a college activist, embraced her role as an international advocate for women, and emerged as a maverick thinker at odds with both the liberal left and the mainstream women's movement. Throughout, she displays a writer's genius for expressing emotional truth and an intellectual's gift for conveying the excitement of ideas and words. Beautifully written and surprisingly intimate, Heartbreak is a portrait of a soul, and a mind, in the making. From Hearthbreak: How did I become who I am? I have a heart easily hurt. I believed that cruelty was most often caused by ignorance. I thought that if everybody knew, everything would be different. I was a silly child who believed in the revolution. I was torn to pieces by segregation and Viet Nam. Apartheid broke my heart. Apartheid in Saudi Arabia still breaks my heart -- I don't understand why every story about rising oil prices does not come with an addendum about the domestic imprisonment of women in the Gulf states. I can't be bought or intimidated because I'm cut down in the middle. I walk with women whispering in my ears. Every time I cry there's a name attached to each tear.

From Simon & Schuster, Life and Death by Andrea Dworkin is the unapologetic writing on the continuing war against women.

In this important work, Dworken gathers essays published between 1987 and 1995, in which she comments on society's ongoing and tacit approval of aggression against women that often ends in these women losing their lives.