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INVISIBLE WOMEN

DATA BIAS IN A WORLD DESIGNED FOR MEN

While some readers may suggest that equality has arrived and gender no longer matters, this book, which should have wide...

A writer, broadcaster, and feminist activist exposes a global knowledge gap in data pertaining to gender.

Criado Perez (Do It Like a Woman…and Change the World, 2015), who was named Liberty Human Rights Campaigner of the Year in Britain in 2013, takes on the challenge of telling the story of the unknown, addressing countless ways in which data about women have been—and continue to be—left out of research that informs everything from daily life to public policy. The author provides an incisive narrative paced more like a novel than a scientific study, offering digestible information with a sharp dose of wit. From heart attack symptoms to usage of public transportation, women’s patterns don’t always replicate men’s. However, like algorithms seeking simplicity, researchers may set aside differences as “atypical,” thus missing the data-rich point that while women’s perspectives aren’t necessarily problematic, ignoring them is. Painting a portrait out of negative space—this is “a story about absence—and that sometimes makes it hard to write about”—Criado Perez draws attention to information gaps in fields as diverse as urban planning, tax law, design, medicine, technology, disaster relief efforts, and politics. In focusing on how research has ignored, obscured, or failed to address gender differences, the author offers a balance of statistics, provocative questions, and concise assessments of systemic bias and how to address it. She pinpoints how the personal and the political intersect in these data gaps, providing a lens to interrogate gender-neutral defaults and reveling in examples of how including women (sometimes a single woman) quickly “solves” persistent problems. In clear language, the author builds a strong case for greater inclusion with this thoughtful and surprisingly humorous view of institutional bias and gendered information gaps.

While some readers may suggest that equality has arrived and gender no longer matters, this book, which should have wide popular appeal, is a solid corrective to that line of thought.

Pub Date: March 12, 2019

ISBN: 978-1-4197-2907-2

Page Count: 272

Publisher: Abrams

Review Posted Online: Dec. 21, 2018

Kirkus Reviews Issue: Jan. 15, 2019

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A PEOPLE'S HISTORY OF THE UNITED STATES

For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.

Pub Date: Jan. 1, 1979

ISBN: 0061965588

Page Count: 772

Publisher: Harper & Row

Review Posted Online: May 26, 2012

Kirkus Reviews Issue: Jan. 1, 1979

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I KNOW WHY THE CAGED BIRD SINGS

However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.

Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."

Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."

However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.

Pub Date: Feb. 1, 1969

ISBN: 0375507892

Page Count: 235

Publisher: Random House

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: Feb. 1, 1969

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