By Florence Williams
Florence Williams - Breasts: A ordinary and Unnatural History
Feted and fetishized, the breast is an evolutionary masterpiece. yet within the sleek international, the breast is altering. Breasts have become greater, arriving prior and attracting newfangled chemical compounds. more and more, the chances are stacked opposed to us within the fight with breast cancer–even between males. What makes breasts so mercurial–and so weak? The intrepid technology journalist Florence Williams units out to discover the newest technological know-how from the fields of anthropology, biology, and medication. Her research follows the existence cycle of the breast from puberty to being pregnant to menopause. Endowed with a witty and inquisitive voice, Williams explores the place breasts got here from, the place they've got ended up, and what we will do to avoid wasting them.
Florence Williams is a contributing editor at Outside Magazine and a contract author for the New York Times, New York occasions Magazine, New Republic and various different courses. Her paintings frequently specializes in the surroundings, health and wellbeing and technological know-how. In 2007-2008, she was once a Scripps Fellow on the heart of Environmental Journalism on the collage of Colorado.
'A needs to learn for proprietors and admirers alike.' North & South Magazine
'Florence Williams's double-D abilities as a reporter and author carry this ebook excessive above the style and separate it from the ranks of normal technological know-how writing. Breasts is illuminating, superb, smart, very important. Williams is an writer to relish and glance ahead to.' Mary Roach
‘A superb and wonderful journey during the evolution, biology and cultural elements of the organ that defines us as mammals!’ Susan Love MD writer of Dr Susan Love's Breast Book
‘I definitely didn't imagine i'll have fun with breasts greater than I already did. it is a really extraordinary e-book! Written with humour and humanity, it really is crucial examining for someone wishing to appreciate the interesting intersections among own health and wellbeing, poisonous chemical substances, western tradition and the clinical occupation. I couldn't positioned it down.’ Bruce Lourie, co-author, Slow dying via Rubber Duck
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Additional info for Breasts: A Natural and Unnatural History
Certainly Plante’s ambivalence, at the beginning of his essay, about becoming involved in Rhys’s private space makes it clear it was only the writer who had attracted his interest, and at intervals he returns to this theme: ‘You are attentive to her, not as Mrs Hamer but as Jean Rhys’ (: ). Despite Rhys’s comment to David Plante that she wondered ‘if it was right to give up so much of my life for writing’ (: ), there were many years, especially between and , when the writing was largely a personal commitment, that is, though Rhys continued to write, her work remained mostly unpublished.
Letter to Peggy Kirkaldy, May ) Both rejection of and desire for security were inextricably bound up in Rhys’s identity. She knew from experience what it cost to be a social outlaw: ‘It was a long time before I learnt that when you are safe you are very rarely free. That when you are free you are very rarely safe’ (MS fragment: ‘I think I fell in love with words’, UTC). She understood early the ways in which money rules the world. In Europe, her first husband Jean Lenglet offered a comfortable, interesting life which made her happy, but this ended in their flight and eventually his arrest.
Jean Rhys as written by David Plante : ) She remembered having strong sympathies for the underprivileged. But she had strong contradictions there as well: ‘When I was a little girl I was always saying, “That’s not fair, that’s not fair,” and I was known as socialist Gwen. I was on the side of the Negroes, the workers. Now I say, “It’s not fair, it’s not fair”, about the other side, because I think they aren’t treated fairly’ ( Jean Rhys as written by David Plante : ). Her conception of her national status was equally complicated.