New Books in Gender

In the 1970s, as women started to enter the labor force in unprecedented numbers, economists began to examine their roles as economic actors. The result was the rise of gender economics, now a major subfield with powerful data and new methods comparing the economic lives of men and women. Yet despite decades of progress, many of the most consequential questions about gender inequality remain unresolved.

In How Economics Discovered Women: Bringing Gender Economics into the Twenty-First Century (U California Press, 2026), renowned economist and demographer Dr. Shelly Lundberg argues that the problem is not a lack of evidence but a failure to challenge entrenched economic models and outmoded assumptions about markets and gender that have limited what the field can explain.

Why does occupational segregation persist? Why do "women's jobs" pay less? Why are men falling behind in education? And why do policies like paternity leave fail to change behavior? Drawing on more than five decades in the field and integrating insights from other social sciences, Dr. Lundberg explains signs of recent progress and charts a path toward a more realistic, socially grounded economics capable of meeting the challenges of gender inequality today.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.
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Our recent conversation about Occupying the Everyday: Militarisation and Gendered Politics of Living in Kashmir (Oxford UP, 2026), with author Niharika Pandit, covers the journey of how critical methodology meets the weight of lived experience. This book examines the everyday politics of militarized control in Kashmir following the Indian government’s August 5, 2019, decision to de-operationalize Jammu and Kashmir’s nominal autonomy. The core of our reflection centered on how one theorizes through such an intense archive. The book avoids abstract distance, relying instead on a rigorous post-2019 archive built from ethnographic fieldwork and rooted in interdisciplinary feminist studies. It demonstrates that theorizing is not a passive intellectual exercise, instead, it is an active, grounded practice of mapping power where it is felt most directly. Through intersectional analyses of space, home, time, and storytelling, the text reveals how militarized control operates via spatial, embodied, affective, temporal, and discursive capture. Reflecting on this book serves as a vital reminder that critical theorizing must remain tethered to the grounded realities of resistance.
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Fulvia was born into wealth, privilege, and prestige around the year 80 BCE, yet there was nothing inherently special about her—she was not a saint, an empress, or a queen. But during the years leading up to the fall of the Roman Republic, Fulvia was moving in the most powerful social circles, and by her death in 40 BCE she had amassed a degree of political and military power unprecedented for a woman.

Fulvia’s success came at considerable cost, however. None of her three marriages to politically powerful men—most famously to Marc Antony—lasted, and three of her five children died violently. She was repeatedly ridiculed for daring to step outside the confines of the domestic sphere. The deliberate and systematic destruction of her reputation shaped her legacy for two millennia.Ample literary, documentary, and archaeological sources for Fulvia exist, yet most contemporary depictions of her were extremely negative. In Fulvia: The Woman Who Broke All the Rules in Ancient Rome (Yale UP, 2025) historian Jane Draycott, reading between the lines of the ancient evidence, proposes a more nuanced interpretation. Using Fulvia as a guide, she invites readers to visit an unfamiliar Rome, one in which women played a crucial role during Rome’s violent transition from a republic to the dictatorship of the Roman Empire.

Jane Draycott is a historian and archaeologist, and the author of Cleopatra’s Daughter: From Roman Prisoner to African Queen. She is a senior lecturer at the University of Glasgow and co-director of the university’s Games and Gaming Lab.

Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature.

YouTube Channel: here
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Chapal Rani was one of India’s most famous performers of jatra, Bengal’s popular theater. Traditionally, all the roles, including female roles, were played by men—and Chapal Rani was perhaps the most prominent performer of women on the stage.

He’s also the subject of a new book from Sandip Roy, titled Chapal Rani, the Last Queen of Bengal. Roy, who joins us the show today, tells the story of Chapal Rani’s life, from stardom to obscurity and later rediscovery; how Chapal Rani would transform himself every night onstage; and how jatra changes how we talk about gender and performance.

Sandip Roy is a writer, columnist, and podcaster currently living in Kolkata. He is a columnist for Mint Lounge, The Hindu, and the host of the Sandip Roy Show on Indian Express. His work has appeared in The New York Times, BBC, The San Francisco Chronicle, NPR, Huffington Post, Conde Nast Traveller, among other publications. For over a decade, Roy was editor of Trikone, the world’s oldest magazine on LGBTQ+ South Asian issues. He is the author of the novel Don’t Let Him Know.

You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Chapal Rani, the Last Queen of Bengal. Follow on Twitter at @BookReviewsAsia.

Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon.
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The centerpiece of Melodrama as Provocateur (Duke UP, 2026) is an essay by Linda Williams (1946–2025). Williams was Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her highly influential work reframed some of cinema’s most neglected or denigrated genres from a feminist perspective, including documentary, pornography, horror, and melodrama.

Melodrama is the focus of what would become Williams’s final project. In the last few years of her life, she was working on a project that traced melodrama’s divergent fortunes in France and the US—and argued for its enduring relevance in contemporary life and culture.

Williams's work on this project was curtailed when she suffered a stroke, the complications of which led to her death in 2025. In the wake of her passing, some of her friends, collaborators, and admirers joined together to make a book that honors and memorializes her. Not only sharing Williams’s unfinished work with the world, Melodrama as Provocateur also expands on that work through a series of essays by scholars working in melodrama studies across time, place, and media.

For New Books in Film, Alix Beeston sits down with the three editors of Melodrama as Provocateur: Christine Gledhill, an esteemed scholar of film and feminism who is presently a Visiting Professor of Cinema Studies at the University of Leeds; Laura Horak, Professor of Film Studies at Carleton University; and Elisabeth R. Anker, Professor of American Studies and Political Science and Director of Film Studies at the George Washington University.

Celebrating the model of incisive and generous research, teaching, mentorship, and collaboration Williams provided, the editors of Melodrama as Provocateur discuss the unique shape of a scholarly book generated in response to a colleague’s unfinished labor. They also take up some of Williams's provocations, including the political possibilities of melodrama in contemporary culture—from Trumpian discourse to trans cinema and beyond—and explore the kinds of labor, thought, and feeling necessary for studying melodrama as a form that moves or provokes us.

Like their book, a work forged in grief and loss, Gledhill, Horak, and Anker's conversation casts film and media scholarship as an act of collectivity and love: a bid for a better kind of world.
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