Susan Fowler says of her new book, Whistleblower, “This book is the story of my journey to become the subject, not the object, of my own life.” It’s a refrain—subject, not object—throughout the book, a guiding concept as she tries to make life decisions and take a stand against harassment.
Rafia Zakaria / The New Republic
India’s 397 million women voters obviously have tremendous potential clout. Yet a “women’s vote” in India has yet to materialize: Women do not vote as a bloc, coalescing to support a party that places women, their security, their education, and their economic future at the top of their electoral agenda.
Maggie Doherty / The New Republic
“The teachers were completely fucked up,” the writer Sandra Cisneros said of her time there in the late 1970s. “They seemed to think that free booty was part of their compensation package.”
While extremist groups use women to their strategic advantage, governments fail to enlist women in counterterrorism efforts, even though women are already on the front lines of reducing extremist violence.
In 2000, 37 female employees at Boeing’s Puget Sound headquarters filed a class action lawsuit against the company, alleging that its use of pay history to determine their salaries was among the factors that stopped them from advancing within the company.
“It is very embarrassing,” he reportedly said. “It is rubbish, just media hype. They just want a hero, and I fill the role model of a disabled genius. At least, I am disabled, but I am no genius.” Hawking was also a self-described feminist, telling British journalist Piers Morgan last year that he was concerned about equal representation in the private sector. “Women are at least the equals of men, or better,” he said.
Jeet HeerJosephine Livingstone / The New Republic
The problem with the way we talk about Woody Allen is not in accidentally saying he is good when he is bad, or bad when he is good—either as a man or as a filmmaker. No, the problem is in giving him the keys to the kingdom of moviemaking. The problem with Allen is his power. The same power that enables him to make artistic choices, and to remain the be-all-and-end-all of “what his movies mean,” also empowers him to do whatever he likes, including abuse vulnerable people.